Archive for the ‘city’ Category

FANTOMOLOGIA. Dal micro al macro

February 8th, 2019

The project “PHANTOMOLOGY. From micro to macro to reality phenomena” curated by Marco Mancuso, Daniela Tozzi and Ilaria Bignotti, presented by CUBO – follows two different lines of action.

On the one hand, it suggests a possible evolution of CUBO artistic proposal by carrying on its research of the last years and inducing a deeper analysis on the relationship among technology, scientific investigation and identity between human beings and their surrounding environment. On the other hand, it deconstructs the classical display modes of contemporary art and narration of New Media Art by fluidly moving among installation elements, performative feedbacks and theoretical and dialogical apparatuses. CUBO and Unipol spaces (the Art Space, the auditorium, the multimedia library) are thus transformed by the “PHANTOMOLOGY” project into a constantly changing narrative paradigm. They become a delocalized place where the public is asked to reflect on the power of technological changes and on the impact they have from the artistic as well as from the social, cultural and political points of view, thus investigating both the expressive power of nature and its intrinsic capacity of modelling and of aesthetic and formal composition.

THE TECHNOLOGICAL ENVIRONMENT

The era we are experiencing, characterized by a constant and increasingly rapid technological and scientific development, involves on the one hand strong enthusiasm and curiosity towards a future that appears generous in the utopian conception of what we consider progress and well being, and on the other hand a gradual awareness and redefinition of the centrality of our role in relation to the other, to the different, to what exists out of us. In fact, contemporary human beings are dominated by a constant flow of data and information indiscriminately produced by machines, services, artefacts and other living things; a series of ephemeral and invisible “objects” that we partly produce and partly collect, allowing us to build and shape forms of relationships with the world around us.

The Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis on display at CUBO Art Space is one of the most iconic works by the British artist STANZA, since the Mid-eighties a pioneer and experimenter of the complex relationship among man, technology and space declined in its different personal, relational and architectural forms. The artwork is a complex and surprising scale representation of a virtual city, whose formal elements are composed of circuits and electronic components, while the lighting is made of LEDs and indicators that monitor in real time information flows, connections and public data networks of the real city around them. A miniaturized synecdoche reproducing the dynamics that characterize, for better or for worse, our daily lives. A transparent membrane that connects CUBO with the city of Bologna, which lives and breathes beyond the large window facing the installation and from which The Nemesis Machine attracts the attention of the visitors, who in turn become part of the artwork as soon as their movements in the exhibition space are monitored and reproduced by a sensor system on a series of small screens. A reminder of Michel Foucault’s statement: “Se forme alors une politique des coercitions qui sont un travail sur le corps, une manipulation calculée de ses éléments, de ses gestes, de ses comportements” [it now takes shape a policy of coercion that is a work on the body, a calculated manipulation of its elements, its gestures, its behaviours]”1 as well as of the evident privacy implications related to those same surveillance technologies and “intelligent automation” to which we have delegated our anxieties of space “protection” against what is “different” and “unknown”. In fact, as Étienne de La Boétie recalls, “Ce maître n’a pourtant que deux yeux, deux mains, un corps, et rien de plus que n’a le dernier des habitants du nombre infini de nos villes. Ce qu’il a de plus, ce sont les moyens que vous lui fournissez pour vous détruire. D’où tire-t-il tous ces yeux qui vous épient, si ce n’est de vous?  [This master who so dominates you has only two eyes, two hands, a body, he has nothing more than the less important man of the immense and infinite number of our cities, if not the superiority that you attribute to destroy them. Where have you taken so many eyes, with whom I spy on you, if you do not offer them to you?]”2

The Nemesis Machine by Stanza

 

 

STANZA’s artistic research focuses on the critical and social analysis of the vital participative systems that characterize contemporary cities, formalizing his work in a series of artworks that, by exploring adjoining disciplinary areas such as Net Art and Interactive Art, aim to trigger dialogues and conversations on urban, technological and social space policies. In his actions and installations, STANZA offers the public the classic archetype of the metropolis as a technological and biological organism, based in both cases on a system of constant and frenetic relationships that make up its lifeblood, thus avoiding the risk of an excessive trivialization or of a distorted reading of his work thanks to the rigorous visual vocabulary and the surprising ability to trigger a dialogue between artwork and public made of curiosity, exploration, reflection, fun and participation.

Text By by Marco Mancuso

The Nemesis Machine by Stanza

Stanza Artwork

New Commission at The Lowry for Quays Culture

November 27th, 2018

Youth Culture By Stanza. The sculpture shows a strong hooded youth through which collected data and information flows. A towering beautiful hooded sculpture; Youth Culture visualises visitor data it receives on mini screens and light illumination built into the sculpture. Thanks for all the help:-  Pillow Space Frame and I and A.  See the website for some videos. http://stanza.co.uk/youth_culture/index.html

The Nemesis Machine in Warsaw. Exhibition: Beyond the Seven curated by Piotr Krajewski.

November 3rd, 2017

Finally finished the lastest version The Nemesis Machine in Warsaw show opens weds night “Beyond the Seven”. Thanks to wro art center who curated moved and supported this. It’s on show then available for exhibitions. Uses live data from various sources and monitors London and Warsaw in realtime. The show is called “Beyond the Seven”. The artwork visualises life in the city on the basis of real time data transmitted from a network of wireless sensors. The artwork you see is a city of electronic components that reflect in real time what is happening elsewhere. Small screens show pictures of the visitors so that they become part of the city. Warszawie ‘za siedmioma’ – megalopolis w budowie / nemezis deweloperów ‘Za siedmioma’ at Dom S?owa Polskiego curated by Piotr Krajewski.

The Internet of Things World Forum (IoTWF) and CISCO systems

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 (IoTWF) Intelligent cityStanza 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.

Dundee Contemporary Arts NEon 2016

November 13th, 2016

The artwork reforms this information and data creating parallel realities. At the heart of this work lies an interest in the urban environment, the networks of cameras and sensors to be found there, and the associated issue of privacy and alienation. The work sits in the middle of concepts for smart cities, The Internet of Things( IOT) and the new technologies that monitors the real time environment. In appearance, the Nemesis Machine is like Big Brother parsed through the lens of the Internet of things. It gives visitors a bird’s eye view of a cybernetic cityscape, where skyscrapers are constructed of silicon and circuit boards.

stanza_neon 284-web The Nemesis Machine stanza_neon-299-web

The Nemesis Machine

 

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 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

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.

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

Stanza opens the Frequency Festival of Digital Culture festival hosted in the city of Lincoln.

November 4th, 2013

The Binary Graffiti Club by Stanza. Stanza opens the Frequency Festival of Digital Culture festival hosted in the city of Lincoln, with his participatory artwork The Binary Graffiti Club. On 18th October 2013 hooded youths in specially designed hoodies took to the streets of Lincoln. Moving around the city in groups The Binary Graffiti Club encoded the city with messages in binary code. The walls, pavements, and empty spaces were covered in over 101 unique and different artworks. An extension of the “flaneur” who wanders without aim The Binary Graffiti Club create new sense of urgency and agency as the city is reclaimed for cultural change.

The Binary Graffiti Club

The Binary Graffiti Club provides a platform to celebrate the pioneering spirit of digital innovation and culture through creative collision and socially engaged artistic practise. The Binary Graffiti Club inspires young people to see the city as canvas to create change. The artwork created represents the hopes and aspirations of young people set in various contexts.

The people have sense of agency—– people who can oppose systems—–free and uninhibited—– they are protective —– live in a melting pot of mixed social composition——– strong independent minds —— prepared to challenge. The participants are  engaged in this spirit of challenge, independence, and global connectivity and leverage this into a future vision.

A selection of artwork represents subliminal messages to reclaim the city and public space as a shared environment which places our youth at the focus of future development.

You can also Commission – The Binary Graffiti Club.

 Graffiti from the 101 Artworks made In The City of Lincoln

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

 

 

 

Stanza On The Front Row BBC radio 4 Talking about Big Data

September 4th, 2013

Stanza On The Front Row BBC radio 4 Talking about Big Data.

Thu, 29 Aug 13 Big Data art– the artists who find inspiration in big data….on the front row bbc radio 4.

http://downloads.bbc.co.uk/podcasts/radio4/frontrow/frontrow_20130829-2000a.mp3

Artwork By STanza

The Exhibition At Watermans Of Data Driven Installation.

August 8th, 2013

The artist explains that he uses data from security tracking, traffic, and environmental monitoring to make artworks. “These investigations have created new ways of comparing, conceptualizing and then visualizing complex concepts related to the relationship of emergent data and real space in the built environment.”

The artwork captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork.

The data and their interactions – that is, the events occurring in the environment that surrounds and envelops the installation – are translated into the force that brings the electronic city to life by causing movement and change – that is, new events and actions – to occur. In this way the city performs itself in real time through its physical avatar or electronic double: The city performs itself through an-other city. Cause and effect become apparent in a discreet, intuitive manner, when certain events that occur in the real city cause certain other events to occur in its completely different, but seamlessly incorporated, double. The avatar city is not only controlled by the real city in terms of its function and operation, but also utterly dependent upon it for its existence.

Visitors to the gallery have given their comments and selections are highlighted below.

“Totally excellent”
“Interesting and inspiring I worry about the overuse of electricity but got fascinated by the gadgets on it.”
“Very original and inspiring work, Symbolises how cities are developing very well.”
“Wonderful sparky city.”
“We were very impressed by the originality and felt part of the art work installation. It had an immediate effect on the viewer.”

For more information on the project click on the link below.

http://brentford.hounslowchronicle.co.uk/2013/07/artist-stanza-wow.html

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

August 8th, 2013

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

Conference Durham University, 21-22 November 2013

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

Calculative Devices in the Digital Age Durham University

The conference will be oriented to the following key themes:

•Data and calculation  – algorithms and algorithmic logics

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

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

•Calculating futures – uncertainty, prediction and potentiality

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

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

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

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

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

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

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

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

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The British artist Stanza is keynote and chair at the Fascinate Conference Pervasive Media.

August 8th, 2013

The British artist Stanza is keynote and chair at the Fascinate Conference Pervasive Media. Stanza will be talking about networked connected space, big data, his work.

FASCINATE is an interdisciplinary conference investigating the current and future applications of ubiquitous computing technologies in visual and performance arts, architecture, craft, design and interactive media.

FASCINATE will explore technology, design and experience related to ubiquitous computing. Areas of interest include: ambient intelligence; experience design; cognitive environments; augmented performance; pervasive media and the internet of things.
FASCINATE will offer participants the opportunity to present and discuss their work, inspire and be inspired by the work of others across a range of fields of practice; build on the experience of keynote speakers and establish new and eclectic collaborations.
Stanza Portrait 2012FASCINATE 2013 : 28-30 August : Falmouth University – Cornwall – England  FASCINATE is an interdisciplinary conference investigating the current and future applications of ubiquitous computing technologies in visual and performance arts, architecture, craft, design and interactive media. FASCINATE will explore technology, design and experience related to ubiquitous computing. Areas of interest include: ambient intelligence; experience design; cognitive environments; augmented performance; pervasive media and the internet of things.

http://www.fascinateconference.com/presenters/stanza/

Other keynotes from Atau Tanaka Ruairi Glynn Seth Honnor

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