Archive for the ‘artwork’ Category

Our Friends Electric at QUAD Gallery Derby

June 29th, 2017

    

Lost In Translation is being presented at Quad In Derby as part of series of works connected with robotic and artistic practise.  In the installation a custom made robot that responds to a series of texts and makes drawings unique to each reader. Readers are invited to step up to the lectern and read into a microphone from a specially made book called Lost In Translation. The book consists of passages from The Bible , The Torah, The Quran and a take away menu. The text and voice are interpreted via software and a robot is set into action on a custom made plinth to interpret what it all means. The robot interprets the text and the voice to creates a painting on canvas of the results. The work questions not only the meaning and interpretation of text but just who controls our understanding of the outputs and indeed what is Lost In Translation.

This is a very playful user friendly work and actively engages the audience not only to think about the text but the meaning of how automation and networked technology is changing the control of understanding.

Lost In Translation

Stanza Robot Art AI and control

The Third Space a multi layered city of informational data.

June 29th, 2017

 What you see in the artworks are fused layers of city patterns in the form of hybridised hacked maps. These lines, grids, and shapes form the design of the city.This series of artworks represents maps as the drawings and patterns that we make and leave behind on the landscape. The artworks represent the scars on the landscape that we have created into by our actions. The cities we inhabit disclose our behaviour in these systems. Exhibited at Brugges Museum. 2015. What you see in the artworks are fused layers of city patterns in the form of hybridised hacked maps. These lines, grids, and shapes form the design of the city.

In thinking and making these work, various other things start to be played out.  The concepts of the city of noise,  the control city of data, the living breathing city space. Within the series some also merge city data with other cities to create what I term The Third Space a sort of confused multi layered migrant city.  These images also play on the relationship of scale with the micro and the macro . Here is the city as living organism;  it’s alive, ever moving towards the edges of space, alive in a virThe Surface Skin 100-100cm. by Stanzaal sense.

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.

Exhibition In Scotland At Centrespace at the Visual Research Centre Dundee

October 15th, 2016

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NEoN, now in its seventh year,  will feature The Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis. Date – 9th – 30th November 2016

The internet of things meets a smart city head on in The Nemesis Machine is a large installation which is adapted to each place where it is displayed.  The artwork represents the complexities of the real time city as a shifting morphing and complex system. It visualises life in the metropolis on the basis of real time data transmitted from a network of sensors.

The artwork you see is a city of electronic components that reflect in real time what is happening. Small screens show pictures of the visitors so that they become part of the city. The artwork lies within the themes of the urban landscape, surveillance culture, privacy and connected city spaces.

The artwork also explores new ways of thinking about life, emergence and interaction within public space. The installation goes beyond simple single user interaction to monitor and survey in real time the whole city and entirely represent the complexities of the real time city as a shifting morphing complex system.

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My wireless sensor network is set up to “visualize” the space all around us as ‘worlds’ full of data. These new data-spaces can help us understand the fundamentals of our outside environment.  The age of privacy is over. 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 is the mother of big brother.

 

 

 

Exhibition in Canada at New Media Gallery Vancouver.

October 15th, 2016
Surveillance based artworkThe Agency at the End of CIvilization

A sprawling collection of daisy-chained monitors, watchful orbs and speakers give voice to circulating, machinic narratives. The Agency at the End of Civilization, by British artist Stanza, presents a parallel future-present that combines real-time data with false narratives. In this world we are under constant surveillance; we are watched in precise detail, our movements are interpreted by machines. Yet the interpretation of what we are seeing and hearing becomes increasingly uncertain. The work links real video and information from hundreds of CCTV cameras in the south of England . Aligned to this are millions of car number plates from the UK car number plate recognition system (The Internet of Cars Project). Using predictive software the machine collects what it is seeing in real time, then begins to insert false narratives to create its own version of reality. The work speaks to our control of public space and our trust in technology.

 

WITNESS

Originally the word Witness meant knowledge, in the sense that you must see, observe or know by personal presence. Over time it became understood as a means of establishing identity and thus the notion of the eye-witness was established: one who testifies to what they have perceived through their senses; tasting, touching, hearing…and seeing. The seeing, witnessing machine, is something that has been imagined and alluded to for centuries. This exhibition contemplates the seeing machine.

Surveillance based artwork

There are five works of art in this exhibition. Each sets up an interplay between the perceiving machine, the world that is perceived by the machine and we, who are both perceiving + perceived bodies. A symbiotic relationship is formed between organic and non-organic systems. There are many ways of seeing. One process of controlled watching is surveillance; a monitoring of behavior for the purposes of influence, discipline, protection or control. It has been said that surveillance is as old as civilization itself. In this exhibition we encounter deeply coded, multi-layered processes of seeing, recognition and surveillance.

Machine vision can often outperform humans. Like humans, machines can distinguish light from dark. They form visual images. They understand their surroundings and have knowledge of the world. They follow our movements, predict our behavior, captivate us and bond with us. Perhaps more importantly we bond and enable them. This exhibition allows us to imagine futures and recall why sight developed.

Surveillance based artwork

Hacking Habitat In Utrecht

March 3rd, 2016

Curated by Ine Gevers, Hacking Habitat witnesses  “the rise of a ‘remote control society’ colonizing and infiltrating increasing realms of daily life for the sake of safety and risk- management. Monitoring cameras and smart gateways are installed everywhere, while we are classified and atomized by automatic face recognition. Software and algorithms define who deviates or contributes too little to our economy. ”

Featuring Joseph Beuys (DE), Melanie Bonajo (NL), James Bridle (UK), Felix Burger (DE), Centre for Political Beauty (DE), Johan Grimonprez (BE), Susan Hiller (USA), Samson Kambalu (MW), William Kentridge (SA), Laura Kurgan (USA), Cristina Lucas (ESP), Metahaven (NL), Pedro Reyes (MX),  Stanza (UK), Timo Arnall (NO),  and many others.

 

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The Nemesis Machine is a miniature city, made up of wires, chips, computer parts, switches and specially designed electronics. The installation shows the current data flow of Smart City London, complete with environmental sensors and surveillance cameras, as well as data from traffic information and environmental monitoring systems. The work responds to the temperature, light, pressure and sound of the simulated city. If something changes in London, it’s registered directly in motion, sound and light in the miniature city of Utrecht. The Nemesis Machine is like the avatar of London and is not only driven by the real city, it is entirely dependent on it.15-STANZA-0414b-mj9m0abah8kt7ms5qmn5wpy6cqlj20tpijnm1zlokg

The Nemesis Machine is een miniatuurstad, opgebouwd uit kabels, chips, computeronderdelen, schakelaars en speciaal ontworpen elektronica. De installatie toont de actuele dataflow van Smart City Londen, gemeten met omgevingssensoren, bewakingscamera´s, verkeersinformatie- en milieumonitoringsystemen. Het werk reageert op o.a. temperatuur, licht, luchtdruk en geluid van de nagebootste stad. Als iets wijzigt in Londen, zie je dat direct terug in beweging, geluid en licht in de miniatuurstad in Utrecht. Nemesis Machine is als het ware de avatar van Londen en wordt niet alleen real time bestuurd door de echte stad, maar is er volledig van afhankelijk.

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Exhibition Titled. Herd Above The Noise. Installation of city sounds on 170 speakers

September 9th, 2015

Soundcities – Herd Above The Noise. Installation of city sounds on 170 speakers.

The installation can play thousands of sounds from around the world and is arranged like a map of the city the artwork is installed in. What you see and experience is a map of wires and cables including over 170 speakers, a custom made amplifier that are all used to make the installation. The installation can be changed to just focus on any given city ie London , Paris, Rome or the whole world. The installation features the use of soundcities.com database and live feeds with a new software system. The system works in auto mode if no one uses it or can users can interact and choose the sounds that get played on the speakers. (Its both interactive and generative)

Soundcities was the first online open source database of city sounds and soundmaps from around the world, using found sounds and field recording. The concept started in 1995 with various interactions. Stanza’s soundmaps have been online since 2000 and the Soundcities database since 2004.

French Text:

Le projet d’installation Soundcities s’inscrit dans le prolongement de la base de données interactive éponyme initiée par Stanza en 1995, pour apparaître sur le web en 2004 dans sa version actuelle, renouvelée en permanence. http://www.soundcities.com/ est la première base de données en open source rassemblant les sons des villes grâce à des captations sur le terrain, à des compilations de sources existantes, et ouverte aux contributions en ligne.

Soundcities By Stanza

Stanza Paintings

The Intelligent City. Data, Privacy, Surveillance. Exhibition at Bruges Museum May 2015

March 19th, 2015

The Nememis Machine By StanzaStanza The Intelligent City Arentshuis Bruges Museum 17 March to 10 May 2015

In the run-up to the 2015 Bruges Triennale (20 May to 18 October), the Arentshuis . The work of this internationally esteemed artist has been shown in about fifty exhibitions since 1984, from Tate Britain, the ICA and Victoria & Albert Museum in London and the Plymouth Arts Centre to Mundo Urbano in Madrid, the Venice Biennale, the Sydney Biennale, the Sao Paulo Biennale, the Museo Tamayo Arte Contemporáneo in Mexico and the State Art Museum in Novosibirsk.

At the heart of Stanza’s work lies his interest in the urban environment, the networks of cameras and sensors to be found there, and the associated issue of privacy and alienation. He is particularly interested in the patterns we leave all over the place. In how we consciously or unconsciously influence each other, and also the degree to which technology may in future take over control of our own bodies and our presence in the city.

Stanza studied at Goldsmiths College, Greenwich University and Central Saint Martins College of Art in London.

At the Arentshuis he will be showing an installation, a series of paintings and a sculpture.

The Nemesis Machine – From metropolis to megalopolis to ecumenopolis

The Nemesis Machine is a large installation (adapted to each place where it is displayed) that is a miniature city. It visualises life in the metropolis on the basis of data transmitted from London. So the city constructed in Bruges using electronic components reflects in real time what is happening on the other side of the Channel. Small cameras show pictures of the visitors so that they become part of the city.

The Nememis Machine By Stanza

Complexities. Surface Scars and Cuts – paintings

Stanza’s paintings show the complexity of the city. When they are scaled down, roads and rivers are reduced to an inextricable tangle of lines, curves and scratches. In this way, the grids and patterns make every city into something universal. Cities look like each other, cities grow towards each other, cities become one: the metropolis becomes a megalopolis and then an ecumenopolis. Cities look like colonies of insects with gigantic towers that look down ominously on wasteland and empty spaces. In his paintings, Stanza combines existing and imaginary cities to form a new ensemble of structures.

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New Commission For Wolverhampton Art Gallery using networked cameras feeds

September 22nd, 2014

Title: Parallel Realities: Entropy Through Black Matter: By Stanza 2014. Commissioned by Wolverhampton Art Gallery to celebrate the Black Country Echoes Festival.

The artwork creates what the artist Stanza calls a “Parallel Reality”, merging multiple experience of the same place into one fused experience. What you see and experience is a constantly changing, ongoing series of images moving forward in time. The artwork creates what the artist Stanza calls a “Parallel Reality”, merging multiple experience of the same place into one fused experience.http://stanza.co.uk/blackcountry/index.html

Parallel Realities: Entropy Through Black Matter: By Stanza 2014.

 

 

 

New Commission At Winchester Science Centre using transport data and surveillance cameras

August 22nd, 2014

The artwork “The Agency At The End Of Civilisation” is a real time interpretation of the data of the Internet of Cars project using the UK car number plate recognition system aligned with real time images from one hundred CCTV cameras in the region of South of England. The installation presents all this as a spatialised audio experience of spoken texts and generative visuals. The audience engages with the work as observer (of the surveillance and recorded space) looking at 24 screens, a dozen speakers, and a labyrinth of CCTV cameras built as an art installation presented on a plinth. http://stanza.co.uk/agency/index.

The Agency At The End Of Civilisation. By Stanza

The Agency At The End Of Civilisation. By Stanza

The Emergent City. Data from the city as hybrid artwork. Centre des Arts d’Enghien-les-Bains. Paris. France. 2014

July 22nd, 2014
The Emergent City. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits.

The Emergent City. A Life From Complexity to The City of Bits.

New Commission For Watermans Arts Centre Artwork by Stanza using live surveillance images.

December 5th, 2013
Originally made in 2004 using director now available as an app. Specially  commissioned  by Watermans Arts Centre.

Originally made in 2004 using director now available as an app. Specially commissioned by Watermans Arts Centre.

 

Bus On Fire By Stanza 2011

Bus On Fire By Stanza 2011 C print on aluminium

Originally made in 2004 using director now available as an app. Specially  commissioned  by Watermans Arts Centre.

Originally made in 2004 using director now available as an app. Specially commissioned by Watermans Arts Centre.

Originally made in 2004 using director now available as an app. Specially  commissioned  by Watermans Arts Centre.

Artwork by Stanza using live surveillance  images. The software system mixes live networked feeds over time and allows different results to be made depending on use of the interface.  This software art various filters and fields and allows: Choice of camera. Time for each segment.  Slice horizontal or vertical.

Stanza. http://www.stanza.co.uk

Underpinning these artworks, 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

Systems Thinking. In Conversation with the artist Stanza

August 8th, 2013

Systems Thinking.  In Conversation with Stanza

Stanza’s system and technology-based works have been exhibited around the world for nigh-on 30 years. With this body of work focussing on urban architecture and alienation, data and privacy, and online environments and culture, his work – mashing up networks, screens, circuitry and CCTV – seems more relevant than ever.

We caught up with Stanza at the start of his new show at the Watermans Gallery, The Emergent City – From complexity to the city of bits.

Read the Full Interview here

http://www.imperica.com/in-conversation-with/systems-thinking-in-conversation-with-stanza

Portrait of artist Stanza

Portrait of artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Stanza’s system and technology-based works have been exhibited around the world for nigh-on 30 years. With this body of work focussing on urban architecture and alienation, data and privacy, and online environments and culutre, his work – mashing up networks, screens, circuitry and CCTV – seems more relevant than ever.

We caught up with Stanza at the start of his new show at the Watermans Gallery, The Emergent City – From complexity to the city of bits.

Please introduce The Emergent City – your vision for the exhibition and how it came into being.

I began a series of artworks in 2003 based on connecting city spaces which used research that I have been doing into real-time data and future possibilities for smart cities. A series of artistic experiences resulted from the research, based on the mashed-up metadata from city data streams.

The Emergent City leverages these real-time data city streams, using my own sensor systems, and represents them online, showing the life of the system, opening it up, and the publishing emerging changing behaviours of the space. All things are becoming connected and networked – not just the city, but the whole world. Eventually, sensors will be interlinked to give a real-time global visualization, a public domain data resource for art and environmental monitoring.

Artwork By  Stanza Using Big Data

 

 

 

 

 

 

 

 

 

 

 

 

The installation goes beyond simple single-user interaction, to monitor and survey the whole city in real time, and represent the complexities of the city as a shifting, morphing, and complex system. The artwork explores new ways of thinking about life, the emergence and interaction within public space, and how this affects the socialisation of space. It uses environmental monitoring technologies and security based technologies to question audiences’ experiences of real-time events, and creates visualisations of life as it unfolds. The artwork captures the changes over time in the environment (the city) and represents the changing life and complexity of space as an emergent artwork.

What you experience and see are hundreds of parts which come alive as the data changes and evolves. It’s a hybrid work, powered by live events. On the floor, there are hundreds of electronic components: fans, LEDs, solenoids, motors. The fans turn when the temperature changes and the motors turn when the light changes. These move in response to the wireless sensors, and are monitoring the light, temperature, noise, humidity of the space and the city. As this data changes, this “wired artwork city” changes. Inside the work are CCTV cameras that present feeds onto micro-monitors within the work itself.

How has the concept of what a city is and works, changed in your personal experience?

The city is everything, everywhere, without limits. It’s a virus on the skin, spreading outwards, upwards, and underground. There is no need to limit the city. It has no bounds.

The city itself is always changing; it is always in flux. Each aspect of city life seems to demonstrate specific characteristics which can be developed into individual parts of the labyrinth, making up the images that will be used. A city experience consists of small unit blocks and cells which inter-relate, and lock together to form the composite city identity. The city has moved from metropolis, to megalopolis, to the ecumenopolis. The city is everywhere, with lifeless design spreading upwards and forming a conundrum of physical objects in space.

How have you used the gallery space for this piece?

The gallery space becomes a live emergent sculpture to wander through. The changing life in the real-time city creates all the changes which one experiences in the gallery space. The leads, wires, and cables are incorporated into the artwork in order to look like a city map.

The installation is “designed” like a piece of urban design; a city, surveyed and controlled. The whole gallery space becomes one large artwork made from real-time city information and data. The moving objects, fans, changing lights, motors, noises, which you encounter in the gallery are all responding to changes in temperature, light, pressure, noise, and the sound of the city outside. The aesthetic and feel of the space looks like an electronic city. The city is made of units, grids, repetition, building blocks.

What are your personal thoughts on the amount of data that city systems now collect about their inhabitants, perhaps in the light of the recent NSA / GCHQ controversies?

Can we use new technologies to imagine a world where we are liberated and empowered, where finally all of the technology becomes more than a gimmick, and starts to actually work for us, or are these technologies going to control us, separate us, divide us, create more borders? My wireless sensor network is set up to “visualise” the space all around us as worlds full of data. These new data-spaces can help us understand the fundamentals of our external environment.

 

Please tell us about Synchronicity, and how the app has helped to augment the visitor’s experience – both in terms of the depth of what they can experience, and how mobile has helped to extend the way in which visitors understand your work.

Dara Visualisation by The Artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

As an artwork, Synchronicity paints the real-time data of London, including public transport data, into a real time “thing”. This maze is represented to the screen as a system that moves, morphs, shifts. Its organic networks of information technology are remediated, creating analogies for the organic identity of the city as a social sculpture in what is a public domain space.

Do you think that contemporary city systems help or hinder the concept of urban alienation?

We are connecting and monotoring not just the space, but the movement and agency of space. The motives for this are vague and questionable, from a variety of positions – ethically and morally.

We know about the surveillance cultures and the notions of the Panopticon. Too much is being “invested” into this controllable space. The is no doubt in my mind, the there are obvious benefits which are easy to cite. However, such a blanketing of control is a sophisticated red herring. It is too risky for a large population of have-nots. We are better off with no surveillance, and the investment should be made elsewhere.

Can we “log off” from the system and live invisibly and choose not to be processed, or are such notions of freedom now well in the past?

The networks are never available to the public when we need them…. they get switched off. Transparency will only work when the power is shared equally.

There will be no invisibility. I explored this in Freezone, in 2005. The irony and contradiction is that if you are off-grid, it will be much easier to locate you. Work such as Monument play with levels of transparency inside this collection of information.

City systems and massive data processing facilities remain in the ownership of large organisations (whether public or private). How can they be democratised? Turned over for the common good? Hacked?

What amazes me is the shock of the Snowden leaks. However, I think all the countries are monitoring one another, so that’s no shock. We have known that various systems have been in place which have been and are being re-developed and updated all the time.

We are just going through a current phase of observation in the guise of big data: collecting everything because it has “value”. There are many reasons for this, from money-motivated values to well-grounded observations regarding modelling techniques that benefits someone in some way. However, they all lead to more levels of state control and alienation for those that will not be able to pay for them. The city of haves and have-nots.

What’s next for you after Watermans, and coming up for the rest of the year?

Data Data Data is made from data collected by the sensors inside a building. This is an art project which gives information about the fabric of our cities. In Façade, the artwork changes its behaviour as a result of changing conditions in the environment. The results become representations of the real time spaces and environment of Trondheim.

 

Stanza Body [Data as Culture] at Open Date Institutute. Extended until 2014

August 8th, 2013

Stanza Body  [Data as Culture]

http://www.theodi.org/culture/body-01000010011011110110010001111001-2012

sculpture By The artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

‘Data as Culture’ is reflective of our time.

The body piece and exhibition extended for six more months until 2014  on show in London

Body is a sculpture which responds to the emergent properties of the environment in South London where the artist’s network is situated for the duration. It represents the changing life and complexity of urban space as a dynamic, kinetic artwork. Real-time environmental data is embodied in Stanza’s life-size sculpture assembled from computer components and acrylic slices of his own physique. In ‘Body 01000010011011110110010001111001′ the urban environment provides a dynamic flickering and clicking sentience to the otherwise inert structure, reflecting the personal level of influence data has on an individual.

Open Data Institute
3rd Floor
65 Clifton Street
London
EC2A 4JE

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Stanza surveillance based installation exhibited at Alter?na?tiva? In Poland

August 8th, 2013

An installation by British artist Stanza using live CCTV will be on show in Poland for five months in 2013.

Urban Generation is a data artwork using real time networked cameras. The networked channels are always on, and therefore, the artwork is always changing. It depicts a constant and evolving view of the urban landscape and its inhabitants exploring the emotional state of the metropolis. The artwork considers a world of universal surveillance. The artwork collects live feeds from 200 cameras in London in real time and reworks these video streams into multi-layered visual structures.

www?.wyspa?.art?.pl www?.alter?na?tiva?.org?.pl
Pro­fes­sio­nal pre­view May 23, 2013
Offi­cial ope­ning May 24 at 7pm – November 2013

A city is never fini­shed they say. The making of a city is always con­nec­ted to a futu­ri­stic appro­ach. The metro­po­lis we envi­sion won’t per­haps be the one we are to inha­bit. The plan­ned future of the city impli­ca­tes all aspects of dwel­ling, enco­un­ters, poli­tics, leisure and access to know­ledge.

The Alter­na­tiva 2013 cura­tors have taken on the urgent sub­ject of city plan­ning and its ide­olo­gies as well as the eve­ry­day tac­tics of dwel­ling and inha­bi­ta­tion in it. Loca­ting its prac­tice in the heart of the Gdansk Shi­py­ard, Alter­na­tiva 2013 is both a result of rese­arch as much as a mat­ter of con­cern for us.

Taking Gdansk as a point of depar­ture but not limi­ting the project’s reach to just one loca­tion, „Till Tomor­row!” appro­aches the sub­ject of city plan­ning as an ide­olo­gi­cal one. The XIX cen­tury defor­ti­fi­ca­tion of Gdansk was the first of seve­ral sub­se­qu­ent demo­li­tions for both poli­ti­cal and eco­no­mi­cal cau­ses, reali­zed and unre­ali­zed moder­ni­za­tion plans, which have mir­ro­red the often-??turbulent poli­ti­cal shi­fts. This very par­ti­cu­lar case study is thus an oppor­tu­nity to begin a bro­ader debate on the question:

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Stanza exhibits: Urban Generation; trying to imagine the world from everyone else’s perspective, all at once”. by Stanza 2002 – 5.

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

Urban Generation; trying to imagine the world from everyone else’s perspective, all at once”. by Stanza

Artwork By Stanza Using CCTV