Archive for the ‘city’ Category

“Data as Culture” artwork made for the Open Data Institute (ODI).

November 30th, 2012

Stanza dtata artworkI have just been commissioned and unveiled my artwork  made for the  Open Data Institute (ODI), and curated by Julie Freeman .  The work  is part  of “Data as Culture”…. “As data becomes more accessible to artists, as it opens up for use as a raw material, we are seeing more of its integration into works that explore environmental socio-political and economic aspects of society.

By utilising data in an experiential way, this selection of works pulls data out of the virtual domain and into our physical world. The exhibition provokes discussion around what open data is, how it informs and affects us, and how we interpret it in a way that is meaningful.”

Body 01000010011011110110010001111001 (2012) By Stanza. Body is a sculpture which responds to the emergent properties of the environment in South London where the artist’s wireless sensor network is situated. 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.

also see

www.stanza.co.uk/body/index.html

 

 

 

 

 

 

 

 

 

 

 

 

 

British artist Stanza wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city.

November 1st, 2012
The British artist Stanza  wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city. This artwork captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. Its an artwork about the internet of things, smart cities and connecting spaces.
British artist Stanza In Italy

Jury Statement

What is the role of art today, in this moment of social transition towards the city of the future? It was from this perspective that the artists interpreted the theme Open Your City, exploring the key concepts word by word. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, the information and the database, a real, but dematerialized city. Artists have been short-listed by an international jury, consisting of Simona Lodi, Carlo Ratti, Bruce Sterling and Mirjam Struppek, on the basis of the artistic value of their work and its relevance to the Share Prize theme.

Capacities: Real Time Complex – Connected Cities by British artist Stanza is an installation dedicated to the complexity of life in an environment. Changes in each of the spaces are monitored in real time, as they give rise to constant tensions, highlighting the behaviour of complex systems and the emergent properties that appear. In this case the organism is the city and not the single individual; it is the entire urban habitat as a whole, revealing its nature as a multifaceted system. The installation is the real-time mirror image of everything that changes, gathering huge amounts of data that are transformed aesthetically into a physical copy of the city, made up of cables, lights and sensors that represent shifts in environmental parameters measured numerically. The obsessive focus is on the observation of environmental data by gathering measurement on temperature, light, atmospheric pressure, noise and the sounds of the city outside the museum. Gathering digital data on the environment has become an art, and art has become a data set rather than a collection of molecules. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, theinformation and the database, a real, but dematerialized city.

Le parole OPEN YOUR CITY sono la traccia tematica che ha guidato la mostra di Share Prize. Il premio ha come obiettivo scoprire, promuovere e sostenere le arti in epoca digitale. La selezione delle opere finaliste della mostra è dedicata agli artisti che interpretano l’innovazione come linguaggio di espressione artistica, in ogni modo e forma. Una giuria internazionale composta da Simona Lodi, Carlo Ratti, Bruce Sterling e Mirjam Struppek hanno scelto gli artisti in base all’aderenza al tema e al valore estetico dell’opera.

Dichiarazione della giuria

Quale è il ruolo dell’arte, in questo momento di transizione sociale verso la città del futuro? In quest’ottica gli artisti hanno interpretato il tema Open Your City, sviscerando le parole chiave. La short-list della giuria riflette l’interpretazione del riapparire artistico del paesaggio urbano moderno come sistema, dove l’elemento solido è sostituito dal messaggio, dalle informazioni e dai database, una città reale ma smaterializzata.

Capacities: Real Time Complex – Connected Cities dell’artista inglese Stanza dedica la sua installazione alla complessità della vita in determinato ambiente. Ogni ambiente è sottoposto a cambiamenti continui che sono monitorati in tempo reale. I cambiamenti portano continua tensione e stressano il concetto di linearità ed evidenziano le emergenze che compaiono. In questo caso l’organismo è la città e non il singolo cittadino ma l’intero complesso urbano, tracciandone il profilo come sistema multiforme. L’installazione è lo specchio in real-time di ciò che si modifica, raccogliendo grosse quantità di dati trasformati esteticamente in una copia della città ma fatta di cavi, luci e sensori che esprimono il passaggio degli elementi ambientali raccolti in forma numerica. L’attenzione insistente è osservare i dati ambientali raccogliendo la temperatura, la luce, la pressione atmosferica, il rumore, e il suono della città fuori dal museo. Raccogliere elementi numerici che riguardano l’ambiente è diventata un’arte e l’arte e’ diventata un insieme di dati piuttosto che un insieme di molecole.

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

 

 

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

September 24th, 2012

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

Stanza, Verenigd Koninkrijk, Capacities

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

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

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

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

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

Stanza artwork Capacities

 

Complex-cities. Art, mapping, within the new digitised city space. Some links for interested parties

September 3rd, 2012

The Nememis Machine By StanzaComplex-cities. Under the new digitised city space from artists walks to virtual cities.

Around the 1900 century the city became the focal point for an intense debate about the dynamics of technological civilization and its effects on the quality of human life. The Futurist manifesto of 1909 identified the city as the pre eminent theme of modern poetry and painting.

Ezra Pound pointed out in his comments on Eliot’s The Waste Land: “ the life of the village is narrative…..In a city the visual impressions succeed one another, overlap, overcross, they are cinematographic”.

The city ceases to be pictured as a social environment and it is transposed on to an existential plane. The metropolis ultimately becomes a metaphor – a dynamic configuration of the confiding hopes and fears of the twentieth century.

Writing played a huge part in the metaphorical and poetic interpretation of world cities. But it is through cinema that we can appreciate the scale, pace movement and patterns that where emerging in the modernist city.

The imagined city is constructed in Fritz Lang’s Metropolis (1926). It is an imagined city, a city of the future a city that is seen time and time again in modern science fiction films like The Fifth Element.

Lang referred to The Tower of Babel, the massive control tower in Metropolis is called “The New Tower Of Babel. The comparison to Babylon within the city has become common in metaphorical language of the city ever since cities really became too large for easy assimilation. Lang’s city thus becomes a city of “idea”.

 

The flanuer.

While Baudelaire characterized the flâneur as a “gentleman stroller of city streets”, he saw the flâneur as having a key role in understanding, participating in and portraying the city. A flâneur thus played a double role in city life and in theory, that is, while remaining a detached observer.

This stance, simultaneously part of and apart from, combines sociological, anthropological, literary and historical notions of the relationship between the individual and the greater populace.

This term refers to a person who plays a sensor role in understanding the urban environment.

Any pedestrian environment that accommodates leisurely exploration of city streets. Walter Benjamin adopted the concept of the urban observer both as an analytical tool and as a lifestyle….. making social and aesthetic observations during long walks.

The wrap it seems, is the collections of observations about the cityspace. These can be made into histories and documented, sights and sounds, experiences of the city.

The flaneur is a suitable metaphoric vehicle for the ‘witnessing’ of this space because ‘the flaneur moves through space and among the people with a viscosity that both enables and priviledges vision.’

Being a product of modernity, he was a spectator of modern life in the urban sprawl; now a product of post-modernity, the cyborg-flaneur is an androgynous spectator of virtual spaces.

A person’s whose aim is to disappear in the spaces of the city – ‘a prince who is everywhere in possession of his incognito’ – is the person who has the best view of the basic nature of cyberspace, a space where anonymonity is maintained by a process of vaporisation upon departure.

The flaneur is also an ‘image of movement through the social space of modernity’ – an explorer who finds their identity among the realizations of the city. The cyber-flaneur’s exploration of virtual spaces is achieved through their natural propensity for movement; they wander anonymously within the boundaries of virtual space, developing a virtual identity while connected.”

The SituationistCity.

A precursor of flash mobs, CCTV performances, interactions with GPS and networked performance the Situationists existed to politicize the urban domain.

The networked internet and virtual city space allows the movement of sources and codes that can be re mashed, played with to be “re-routed”.

By cutting up maps of the city Guy Debord and Asger Jorn where re coding city space, creating new patterns and urban forms. Or see Constant’s, “North New Babylon”, watercolour on collage. It is a single continuous organic structure spreading to the edges across the landscape. Unit blocks are repeating in an organic web like structure. The most famous of these images was “The Naked City”, criticises traditional mapping and at the same time investigates the relationship between various urban elements by re- assembling the map of Paris.

“Situationists promised that their architecture would one day revolutionise everyday life and release the ordinary citizen into a world of experiment, anarchy and play.” Simon Sadler.

The HP media platform for mobile computing the city based games using GPS tracking all continue this theme of playing in city space.

Simon Sadler, draws a comparison between Jackson Pollock’s Autumn Rhythm (1950) an  (p87  The Situationsit City) abstract expressionist painting, and the webs traced by both Paris metro and London railways maps. Debord insisted that interest was because of the content however the aesthetic comparison cannot be ignored.

Future Cities

Future cities will be merged into real time connected up data cities connection of networks of real time information flows.

The internet presents of a myriad ways to create ephemeral art across cross networks using all sorts of data information and media. The internet provides gateways and access for all, the editing process, mash-ups, authors as editors, as choice makers, as decision makers.

The key to a multi/plicities project is the nature and openess of the gateways so that its acts without borders.

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.

By researching current systems, software, and artworks 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.

 

Future cities / spaces 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.

There fore can one build an open ended platform  where the content too can be mashed up , intergrated into  non linear streams, re- assembled, used by other artists, curators, via tag  or XML streams.

(NB: I don’t like the term open source or but my work endeavours to collapse the borders created by networks so there is a free flow and exchange through the system both for input and outputs of ideas and latterly resources which I call assets (the data and the information.)

The examples below are experiments around the world in this field of location based devices maps and artworks that all have varying objectives. They mostly I believe have developed without speculating on future content delivery  scenarios.

From a recent essay with my work (Issues In Science And Technology, Spring 2012.) … “the more people online contributing ideas,  the more valuable the network becomes to all the other users”…Hillary Rodman Clinton

So the objective is to  maker a platform that  makes it easy to  contribubute from the first instancee whose structure or front might be re/ assembled depending on the flow / need/ content narrative)

Interesting links.

http://www.bbc.co.uk/news/world-europe-19267930

“It’s a good way to tell the story of a person. And we all have a story. Both the farmer, the director, they all have a story. And also it makes a visit to the graveyard much more interesting.”

http://www.notours.org/audioguides

***

NoTours proposes an augmented aurality experience. In other words, you can add a new layer of reality to your place. You can leave messages, tell stories, create geolocated concerts or just share your thoughts. The team of noTours.org is looking forward to know your ideas and your possible uses. In fact we are artists and developers. Take a look at some of the sound walks we have made in the world. Some companies and individuals have already asked us about creating their own customized walks. They offer you the possibility of having your own app with your logos
http://code.google.com/p/timemap/

Timemap.js is a Javascript library to help use online maps, including Google, OpenLayers, and Bing, with a SIMILE timeline. The library allows you to load one or more datasets in JSON, KML, or GeoRSS onto both a map and a timeline simultaneously. By default, only items in the visible range of the timeline are displayed on the map.

http://www.soundcities.com/

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Stanza sound maps, softwares, performances and installations around the of many cities, big investigation around the city soundscape. he interesting thing now is the project is opened up for others allowing a re mixing or mash up. It allows these “others” to do with the “material” other things for example concerts and art installations. Using the XML feed other applications are created ie phone apps merged with you PS position or visualisation of noise across a space…all sorts of things are possible.

Regeneration squares

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

Re-animating and remapping the city. This project involves making new public squares in the city to make a regeneration of the city. Here area selection of these new squares in Liverpool. In addition I invite the public to find these squares and present situations to intervene and to regenerate these new public spaces.

http://www.huellasolar.com/

Solar-imprint cities (Huellasolar ciudades) is a project for mapping urban solar exposure. This mapping is dynamically configurable by the user to study the incidence of the sun at any time of year in various cities in Spain.

http://www.sonicwonders.org/

This a travel guide to our Sound World – listing places where what you hear is an important part of the experience. Increasingly, people are going to capture the World’s sonic wonders, whether deliberately by recording what they hear on a mobile phone, or almost by accident, as the soundtrack on a video recording. A sort of travel the world listening to  sounds guide.

http://voiceofkibera.org/

Voice of Kibera aims to give collective global voice to Kibera residents by aggregating local citizen reports, Kibera community media and other relevant news and information.

http://birdmap.5dvision.ee/index.php?lang=en#

At this url you can  track on a “migration map” some birds travelling between Europe and Africa.

http://www.equator.ac.uk/index.php/articles/c61

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.beatrizdacosta.net/pigeonblog.php

Art project Pigeonblog was a collaborative endeavour between homing pigeons, artists, engineers and pigeon fanciers engaged in a grassroots scientific data gathering initiative designed …. How could animals help us in raising awareness to social injustice?

http://www.christinakubisch.de/english/install_induktion.htm

“Electrical walks”, is an invitation to a very special kind of stroll in cities (or elsewhere) With a special magnetic headphone and a map of the environs, upon which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electrical fields; what is accustomed appears in a different context. Nothing looks the way it sounds. And nothing sounds the way it looks.

 

http://www.conormcgarrigle.com/writing_the_city.htm

Writing the city was a GPS drawing walk intervention which took place in Dublin in collaboration with Tactic. The walk with a handheld GPS to a preplanned route used the tracklog to write a giant word in a single movement onto Dublin.

http://www.walkingthroughtime.co.uk/

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Walking Through Time is a mobile application that allows smart phone users with built-in GPS to not only find themselves in the present, but find themselves in the past. By making available historical UK maps, users will be able to scroll through time and navigate places using maps that are hundreds of years old. This new iPhone app brings this imagination to reality. Just head out for a walk, set the app to play, and let the story of the birth of the solar system and the evolution of life unfold under your feet.

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,

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://www.savetheelephants.org/tracking.html

Save the Elephants uses Google Earth to visualize our elephant tracking data from across Africa. Google Earth is the rich mapping application that will allow you to fly through a global database of Earth imagery and detailed mapping information.
http://www.atmosphereindustries.com/gentrification/

A transmedia game, which uses mobile technology to facilitate and augment offline gameplay. It has been presented at game and culture festivals around the world to critical acclaim. Small teams compete to collect real-world properties, “convert” them, and transform the neighbourhood. As developers, they’ll build swanky lofts, erect coffee shops, and raise property values

http://realtime.waag.org/

GPS trace maps built into flash all online.

http://homepage.ntlworld.com/keir.clarke/web/thereandthen.htm

*** Check This

Historical movies on Google Streetview  (Looks Like a screenshot of streeview)

http://maps.google.com/maps/ms?ie=UTF&msa=0&msid=209536004200975525899.0004af02bf59e643ac521

Geolocate the painted tags in the mountains of Lima:

http://www.google.com/mars/  Google Mars is a great tool but when shall we geolocate our own information on Mars and the other planets in our solar system ?…that is the question.
Streetmuseum™ Londinium directs you to locations across the capital where you can immerse yourself in the sights and sounds of Roman London. As you’re guided around the city you’ll unearth exquisite artefacts as if discovering them for the first time and reveal the stories of life in Londinium (OFFLINE)

http://www.boxofficequant.com/100-years-of-set-locations/full_screen.htm

This map, showing 2100 movies locations is a great resource for people who want to geolocate the scenes of the movies in a “Walking Cinema” spirit. It could be a great starting point fo a mobile phone app.
http://www.paintyourstreet.com/

On the website “Paint Your Street” Google Maps mashup you can write words over the Street Maps view ! Nice idea ( full of script errors)

http://glowapp.com/

***Glow is the mobile app that tells people how you are doing and where you are doing it. Download Glow and discover how people around the world are feeling right now! (Use the map view to reveal areas near you where people are feeling good. We use color to show you how people are feeling as a group. Blue is “awesome” and red is, well…”not so awesome”.)

http://www.markermusic.com/

Interesting use of Google Maps for mixing locative audio recordings. “you can click and hold on the map to move it around, and use the YouTube volume controls to change the mix” :

http://sounds.bl.uk/uksoundmap/fusionmap.aspx

UK Sound Map is a online “soundscape” project from the British Library Board and the “Noise Futures” network. Welcome to our interactive map showing 1675 soundscape recordings contributed so far by members of the public: (now closed)

http://whatwasthere.com/ What Was There is A great project with Google Maps to travel in time…visit the site and test the iphone app !

http://urbansonar.com/

Urban Sonar is a personal space monitoring system that senses an individual’s experience as they move through the urban environment and records that information for review at a later time. Turning the gaze both outward and inward, negative

space surrounding the individual and their heart rate are used to visualize a lived experience through quantitative data.The visualization program was writting in Processing.
http://pixelsix.net/wanderer-gps-game/

Keep Walking! from Jonas Hansen. The object of the GPS game Wanderer is to be in continuous motion and to follow auditive commands given by the game system. Because the game is not mapped onto the coordinates of the physical space, it can be played in any location. The player is continuously con fronted with the objects in public space functioning as game obstacles. In this way the game trans­forms the meaning of the

http://www.thehiddenpark.com/

It seems to be a geolocated game for children but it is really more than this. This app and the editing tool is full of great ideas, mixind reality with animations. Let’s hack The Hidden Park for some activists purposes 😉

http://imapflickr.com/default.aspx

Create custom Google Maps from your geotagged Flickr Photos to embed in your website or blog, or for sending to Facebook, Twitter or your favourite website.

 

Walking.

http://walkart.wordpress.com/

A virtual tour of Stuttgart and London

August 6, 2012 by Ana Laura

A walk with Amy’ functions as an urban drift, in which each participant is simultaneously a spectator and traveling companion, tourist and tour operator. The intimacy of an unknown voice can lead to unexpected insights and connections, noticing details we might have overseen, as we share cities across a remote landscape. ‘A walk with Amy’ asks what is worthy of attention – without road names or landmarks, what will function as signposts and how will we make our choices?

New Artworks involved with walking

http://walkart.wordpress.com/artworks/

Misc

http://www.museumoflondon.org.uk/London-Wall/Whats-on/Exhibitions-Displays/LomoWall.htm

The Museum of London has collaborated with Lomography – the vibrant community dedicated to analogue photography – to create an eye-catching LomoWall display.

 

Books

http://www.rodopi.nl/senj.asp?BookId=ATC+5

The convergence of mobile technologies and ubiquitous computing is creating a world where information-rich environments may be mapped directly onto urban topologies. This book tracks the history and genesis of locative and wearable media and the ground-breaking work of pioneer artists in the field. It examines changing concepts of space and place for a wide range of traditional disciplines ranging from Anthropology, Sociology, Fine Art and Architecture to Cultural and Media Studies, Fashion and Graphic design.

 

Cities. Visualisation Environment

http://flowingcity.com/

http://villevivante.ch/

The City of Geneva decided to take the challenge to visualize these digital traces created by our mobile phones. The objective of this installation is to make this data visible and allow you to explore these streams of connected people around the city, in their everyday life. A particle flow-field inspired map provides a view of the ‘liveliness’ of the people using their cell phone as they move about, as the activities and directions are embodied by the density of lines shown on the map.

http://stamen.com/clients/mysociety

Interactive maps of travel time and housing prices in London. an NGO which builds websites that give people simple, tangible benefits in the civic and community aspects of their lives, came to Stamen with a remit to explore two fascinating datasets: median prices of homes throughout London, and the time it takes to travel from one place to another throughout the city.

http://www.emotionmap.net/map.htm

The Bio Mapping device was invented by the artist Christian Nold. It combines a finger cuff sensor, which records the wearer’s Galvanic Skin Response (GSR) – an index of emotional response – in conjunction with a Global Positioning System (GPS) which locates the wearer’s position on earth. The finger cuff sensor was derived from the Polygraph, where it is used by law enforcement agencies to identify the physiological symptoms of stress induced by lying. Bio Mapping uses this technology very differently.

http://research.microsoft.com/en-us/projects/urbancomputing/

Urban Computing With the rapid progress of urbanization and civilization on earth, urban computing is emerging as a concept where every sensor, device, person, vehicle, building, and street in the urban areas can be used as a component to probe city dynamics to further enable city-wide computing for serving people and their cities. Urban computing aims to enhance both human life and urban environment smartly through a recurrent process of sensing, mining, understanding, and improving.

http://casualdata.com/senseofpatterns/

Sense of Patterns is an on-going project, a series of printed data visualizations aiming to depict the behaviors of masses in different public spaces. The visualizations have a focus on the patterns of moving entities in public like commuters, cars and public transportation vehicles as well as the interaction between these entities and physical structures like roads, sidewalks, buildings and parks. The project intends to provide strong visuals on what we all experience in our daily lives in different cities.

http://www.techcitymap.com/index.html#/

Tech City Map is a constantly-evolving compendium of East London’s vibrant technology and creative ecosystem. In addition to showing where businesses are located Tech City Map uses advanced technology from Trampoline Systems to reveal the web of connections linking them together and calculate each company’s influence in the community.

https://geoloqi.com/blog/2012/03/data-portraits-powered-by-3-5-years-of-data-and-2-5-million-gps-points/

These are images of map generated entirely from GPS logs gathered by various versions of the Geoloqi sample application for iPhone and Android for the past 3.5 years. Once gathered, the data was run through a custom script that projects the GPS logs onto a 2D image plane. There is a little bit of logic to smooth out the lines and remove some (but not all) GPS noise.

Other

mobilebristol (now offline)

Founded by Hewlett Packard Laboratories, the University of Bristol and the Appliance Studio, Mobile Bristol’s programme of research ran from 2002-2005. It investigated how pervasive technology could be used to enhance how residents and visitors experience and interact with their physical environment and each other in urban and public spaces.

Cityware with Imperial

Sensity by Stanza

Sensible cities MIT

London AA

Dog attention Over 115,000,000 views

 

Stanza 2012

 

 

 

 

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.”

Stanza Vida Retrospective Madrid. The Central City Exhibition

April 13th, 2012

Works for Premios VIDA The Central City by Stanza 1997 – 2004

The installation includes these titles.

Central City.   1997 +  Inner City I.  2001 + Inner City II. 2001  +Beautifull Maps.  2004  + Biocities. 2003  + Codified. 2003  + Nanocities. 2003  + Diversity  I. 2003  + Diversity  II Pillars Of  Truth. 2003  + Elasticity. 2003  + Spider Maps. 2004

The Central City gets dusted down by Stanza  for Vida Retrospective in Madrid from May 8th for six months. Hundreds of sections of this art labyrinth will be exhibited on 15 touch screens built into towers blocks as a large scale interactive installation (see below). Stanza will be showing all the Central City projects and sub projects. It’s a labyrinth, a “city” of interactive artworks themed around the life of the city and using patterns maps and city data.

The Centrtal City for Madrid Vida

The Central City for Madrid Vida

The Central City has the following sub titles and artworks ( like chapters in a book) :-universa constructor videotron megalopotron univercity smallworlds textourama elevator maputor proser city central citoxity fostexity textus sounder randomizer cuboid matrixity advercity fibrinet.

‘The Central City ‘, is an audio visual, interactive, internet art, experience. The central city consists of text pieces, embedded sounds, all made for the internet.  The city becomes an organic network of grids and diagrams, juxtaposing urban sights and sounds. An online internet specific art project I wanted to develop analogies for the organic identity of the city as an urban community and make links with electronic networks and virtual communities. This organic interplay is contrasted with man made structures, as well as patterns and forms of urban design. The online spaces are for dreaming, thinking, meditating and transience.  http://www.stanza.co.uk/centralcity/index.html

Inner City. Different sections inside include:- virosity. artitexture. blackstar. complicity. cuboxis. intoxcity. megalopolis. misterium. modernista. ecumenopolis. motorate. organicity. phyletcity. revolver. utopias.

The idea is to go deeper into analogies for the organic identity of the city. The micro city becomes an organic networks of grids and diagrams.The form and content of this work is a visual world of the city and its structure. Networks of information technology are contrasted with organic networks and city networks. The project fuses the sounds of specific places.The sounds of language impose a rhythm that the visual narrative can interact with. The city codes itself up into a growing patterns and images based on algorithmic patterns. The digital city experience. http://www.stanza.co.uk/inner/index.html

Biocities.

Inspired by the idea of the city being a coded entity. These “paintings” map out city emergent city spaces. Each one in the series has different behaviours which change the sounds over time or generate and evolve new images, ie shapes and colours. The city experience is a web of connected networks and multi layered threaded paths that condition us to the emotional state of the city space. In essence, the city fabric is a giant multi user multi data sphere. The patterns we make, the forces we weave, are all being networked into retrievable data structures that can be re-imagined and sourced for information. These patterns all disclose new ways of seeing the world. There are 24 artworks in the series built into a unique software system. They are available as a touch screen edition for exhibition.

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

Codified

This artwork is inspired by the idea of an emergent data city. As we walk about, the patterns we make via phones and gps systems leave traces and memories of the places we have visited. This artwork tries to re-create those patterns as abstracted movements captured over time. The end results, the outputs, are ‘maps’. “Codified” creates patterned maps actioned by the interpretation of the code. http://www.stanza.co.uk/codefied/index.html

Beautiful Maps

Small scale events and objects have affect within systems. These code structures create patterns on the nano scale making generative paintings that look like maps and cities. This custom made software makes millions of maps.

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

Stanza Towers 2004 from Diversity

Stanza Towers 2004 from Diversity

FROM THE CENTRAL CITY AND INNER CITY TO THE EMERGENT CITY

The ‘central city’ has become an amalgamation of images from art, architecture, design and urbanism. 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.  Cities become “insect colonies”, spreading upwards with giant towers looming over vacant lots, and empty spaces.

The form and content of this work is a visual world of the city and its structure. A visual labyrinth, a maze of circumstance. The city itself is always changing; it is always in flux. A visual labyrinth, a maze of circumstance. 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 online spaces are for dreaming, thinking, meditating and transience.

City Sounds

I am interested in the sounds of specific places, and how the sounds reflect this identity and re-impose characteristics back onto the location or environment. Cities all have specific identities, and found sound can give us clues to the people that inhabit these spaces, as well as provoking us and stimulating our senses in a musical way. The sounds of language impose a rhythm that the visual narrative can interact with. The intention within newer sections of the inner city, is to create an audio visual experience that evokes place, both as literal description but also developed musical composition. These are the ideas that are informing my ‘soundmaps’ series, and ‘soundcities’.

Stanza

www.stanza.co.uk

Exhibition Information. This project has also been exhibited at.

museo tamayo arte contemporáneo 2002 + fluxusonline 2002 + cosign germany 2002 + fcmm montreal 2002 + physical vs. logical space , austrailia + cinemania(c) croatia 2002 + arte digital cuba 2002 + isea japan 2002 + Garage Festival Germany 2002 + Senef korea 2002 + nimes 2002 + emaf 2002 + siggraph usa 2002 + soundtoys 2002 + cybersonica 2002 + Fused 2002 + Sao Paulo Bienale 2002 + Zeppelin Barcelona 2002 + Net.art in 4L Istanbul 2002 + Immedia 2002 usa + Net-working 2001 + Soeul Net art 2001 + Generative Art 4th GA2001 + A Fair Place Turkey.2001 + McLean Project Casting a Net USA 2001 + Art Image Graz 2001 + Video Lisboa Lisbon 2001 + Impakt Utrecht 2001 + Medi@terra Greece 2001 + Cynet 2001 Dresden + E.I.I.Festival edinburgh 2001 + Garage Festival Germany 2001 + Urban Myths.Israel 2001 Independent Newspaper best site of the week 2001 + DLUX 2001 Austrailia + Moscow International Festival 2001 + Sonar 2001 + net-z-lab 2001 + Vdor21/Break21 2001 + Thaw 2001 + arco 2001 + Transmediale 2001 + Architettura in Video 2000 + Netart 2000 + Independent Newspaper best site of the week 2000 + Macromedia’s UCON 1999 + BIMA shortlist UK 1999 + emaf 1999 + Seafair 1998 +

Stanza The Central City Installation

Stanza Data Artwork called Sonicity exhibited at 25th Stuttgarter Filmwinter

February 12th, 2012

Stanza  Data Artwork called Sonicity exhibited at 25th Stuttgarter Filmwinter

Smart cities and real data

Stanza Smart cities and real data

Sonicity Installation is exhbited in Germnay  for Stuttgarter Filmwinter Sound Installation, Great Britain 2011.

“Sonicity” is a responsive installation, a sonification of the real space and environment. This artwork focuses on the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from these new technologies. 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. 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 audience 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.

Stanza Sonicity Artwork

Stanza Sonicity Artwork

The sounds you hear are the sounds of the changing environment, i.e. 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.

Soundinstallation, Großbritannien 2011

“Sonicity” ist eine reaktionsfähige Installation, ein Hörbarmachen von realem Raum und realem Umfeld. Die Klänge, die man hört, sind die einer sich verändernden Umwelt, das heißt Veränderungen von Geräuschen, Licht und Temperatur werden mithilfe dutzender kabelloser Sensoren in einen Echtzeit-Soundstream umgewandelt und als Installation aus 170 Lautsprechern präsentiert.

Die Arbeit konzentriert sich auf den Echtzeit-Raum und die Erlebnisse der Besucher wenn sie mit dem Raum interagieren. Dabei werden Daten, die durch diese neuen Technologien gesammelt wurden, verwendet. Mein System überwacht den Raum (das Gebäude) und die Umwelt (die Stadt) und erfasst live die Echtzeit-Daten (Licht, Temperatur, Geräusche, Luftfeuchtigkeit, Position) um die Umgebung in Form von Tönen abzubilden, eine auf Akustik reagierende Umgebung, buchstäblich der Sound der Mikro-Veränderungen, die sich im Lauf der Zeit ereignen. Das Kunstwerk untersucht neue Denkansätze über Interaktion im öffentlichen Raum und wie sich diese auf die Sozialisation des Raums auswirkt.

Das Projekt nutzt Umweltüberwachungstechnologie und Sicherheitstechnik, um die Besuchererlebnisse im Raum zu hinterfragen, wobei Daten im Raum gesammelt werden. Das Projekt beleuchtet auch die Mikro-Veränderungen, die Vibrationen und Geräusche der Ausstellungsräume mit drahtloser, sensorenbasierter Technik.

Stanza Installation Of Real City Data at Gogbot Festival Enshcede Holland. Sept 2011

September 1st, 2011

Off  to Holland for an exhibition of Capacities by Stanza at Gogbot Festival Enshcede Holland.

Gogbot is an art music technology festival in Enschede, the Netherlands. Sept 2011. Decided to drive the work in a car.

This was a great fun event.

Stanza at Gogbot Festival Enshcede Holland

Stanza at Gogbot Festival Enshcede Holland

The artwork  is a responsive installation with embedded interactive elements. It is responsive to the environment via sensors and interactive with its embedded CCTV system. The artwork gathers data from the city (environment) a custom made wirless sensor network. This is then represented virtually and then this virtual city is represented as this electronic city. The work becomes a manipulation of data, that ‘powers’ all the ‘events’ ‘actions’ and ‘processes’ in the installation. The changing data in the city creates all the changes one experiences in the gallery space. The moving objects, fans, changing lights, motors, noises, that you encounter in the gallery are all responding to changes in temperature, light, pressure, noise, and the sound of the city outside.

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.

The real world is made virtual and the virtual is made real again and exposed in the process. This whole piece us a living and breathing artwork. The project focuses on the micro-incidents of change, the vibrations and sounds of the environment using wireless sensor based technologies.

We understand the 20th century in terms of atoms, molecules and gases that move. Our world is now a world of numbers and changing data and information. This art installation manipulates these numbers from the real world and affects the installation in the gallery space in real time. Capacities does this by capturing the change over time of the environment using customized sensors that collect the real time data. See website for more

stanza artworks

 

Parallel Realities. Time based surveillance artworks

June 12th, 2011

Parallel Realities. Made using custom made software by UK artist Stanza  that take images from live feeds often live news feeds and live feeds.

Stanza. Los Angeles CCTV Media Visualisation 2005. Large print On Canvas.

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.

These artworks are made from small unit blocks, simplified then re built,  re-cored re-formed into an understanding that can re-communicate the complexity of the larger system.  From a series  media visualisations 2004  – 2006  made using custom made software that take images from live feeds often live news feeds and live CCTV feeds.

Timescapes. Made using custom made software by UK artist Stanza  that take images from live feeds often live news feeds and live CCTV feeds.

Stanza part of the guest panel the global surveillance society at Barbican Centre London.

June 12th, 2011

Stanza part of the guest panel at Barbican Centre London.

Stanza Stars Of CCTV  series

 

Q&A with director Juan Manuel Biaiñ, London based British artist Stanza, Dr. Kirstie Ball, Director of Surveillance Studies Network, Simon Davies, Privacy International, Stephen Graham, Professor of Cities and Society at the Global Urban Research Unit and James Michael, privacy specialist and human rights lawyer.

Stanza
is a London based British artist who specializes in net art, data sculptures and networked space. He works with the concept of surveillance. His work has been shown at The Venice Biennale, Tate Britain, The Victoria and Albert Museum.

Dr. Kirstie Ball is a Senior Lecturer and Reader in Surveillance and Organization at the Open University and Director of Surveillance Studies Network.

Stephen Graham is an academic and author who researches cities and urban life. He is Professor of Cities and Society at the Global Urban Research Unit and is based in Newcastle University’s School of Architecture, Planning and Landscape.

Portraits Of The Artist Stanza

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 City and Surveillance Culture. Artworks about privacy and transparency of information

May 13th, 2011
Stanza Artwork

Stanza Artwork. STANZA ON CCTV

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. _stanza

The city also has millions of CCTV. In essence the city is the biggest TV station in existence. Millions of hours worth of data are recorded every day by these cameras on city TV. One can take the sounds and images off live web streams and  re-represent them thus creating new interpretations of the city in the process.

The city already has a recorded source of data, CCTV is everywhere. Using  data  from cctv, you can bring the outside inside. Selected feeds are collected from around the  world in real  time.  These real time images are fed into a software system  where a series of specialised channels rework these images. The channels are always on, and  always changing, a constant  view  of  the world changing  and evolving around  the  clock.  This uses especially created  software  and technology to  randomly  find images in real time from anywhere in the network, in this case anywhere in the world.

The increase of technology infrastructure in the daily existence of a city means that technology will, more than ever be everywhere in our environment. Mobile data mining will be part of the fabric of the landscape.  We will be carrying this data in pods, phones and IDS cards. Everything is or will be tracked. CCTV, car sensors, tracking inside our phones and id card movement tracking in the guise of anti- terror activity.

The patterns we make, the forces we weave, are all being networked into retrievable data structures that can be re-imagined and sourced for information. These patterns all disclose new ways of seeing the world. The value of information will be a new currency as power change. The central issue that will develop will be the privilege and access to these data sources.

watershed-publicity

 

 

 

 

 

 

 

 

 

 

 

 

Uses of this information and data should allow rich new interpretations on the way our world is built, used, and designed.

So can we  imagine the city at a different scale. Maybe it is possible to extend our imagination and enable that perception of the city as a dynamic, real time network. We can now put systems in place that can re–employ our perception and thus create new understanding of how this behaviour unfolds. There are patterns, they are connected and the systems that evolve, can be simulated and acted upon.

We can influence the process and the system and we can also create variables into this system that allows further understanding of the bi-products of the system, the data, and the resulting information.

Is it a  world full of data that can help understand the fundamentals of our outside environment, and monitor the micro codes of our dna to monitor disease?

Is it 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.

 

Stanza asks:- Can we use new technologies to imagine a world where we are liberated and empowered…

April 4th, 2011

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.”

Stanza Live City Data

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.”.

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.”

Works by stanza
Façade.

I have been comissoned to make a responsive architectural façade. The facade is a live dynamic interface, an artwork that changes its behavior 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 environmental data is collected across the urban and environment infrastructure to make the artwork; using custom made sensors in the building and around the city. (30 custom environmental sensors units measure, light, noise, sound, humidity, and temperature). This data is turned into a online real time visualization of the space. 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’ by Stanza.

I am planning a much larger version of Capacities and I am looking for an exhibition for it. 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 by Stanza

Sonicity

I am working on the next version of Sonicity for a space in South London.  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.

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

Stanza was interviewed byRob van Kranenburg from The Internet Of Things.eu

Stanza data data data

The City Re-imagined. Residency at FACT Liverpool. 2010

March 11th, 2011

A series of artworks centered in Liverpool by Stanza from a residency at FACT. These artworks are about the city and how we react to the changing space around us. They are focused on our relationship to urban space and how by incorporating live data and CCTV images, different representations of Liverpool and as a living breathing entity can emerge. The works are provocations that relate to our hopes and aspirations for the spaces around us.

In these artworks I set out to explore public domain space in innovative ways following on from my first Ropewalks Square proposal to FACT(http://www.stanza.co.uk/portal/) and to make artworks exploring the use of live data CCTV in public space. The works are located between art, urbanism, and surveillance culture and they focus on the ethics and ownership of public spaces and how they are used.  The work includes ten interventions and artworks which  are all online (see below). I have tried to create narratives that demonstrate innovation and ethics of space and in several projects used an audience or local people to be involved in the works.

Included in the body of artwork are sensors that monitors spaces for environmental change. Another artwork proposes to extend the building at FACT virtually by projecting CCTV into Ropewalks Square and across the city. Another is a spy frog that talks, and a series of new public squares have been made across the city with minimal aesthetic were one can go to contemplate just what is going on.

These projects like are like seeds. They have been planted and now they need watering.

I hope you enjoy the work.

Public Domain: Series III.

Stanza Artwork Live CCTV

Live CCTV across the city. 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

We have nothing to hide only to loose.

 

Stanza Artwork

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.htm

Regeneration Squares.

 

Stanza Artwork

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

Re-animating and remapping the city. This project involves making new public squares in the city to make a regeneration of the city. Here area selection of these new squares in Liverpool. In addition I invite the public to find these squares and present situations to intervene and to regenerate these new public spaces.

Fortuna.

Stanza Artwork

Stanza Artwork

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

This is an online artwork using images from across the city, representing the struggle for change. The street was known as the Bond Street of the North, it was in the past a toll road. The working classes would go to work under the road in tunnels and enter via back doors of the expensive shops; never to be seen by the rich, thus kept separate. The city has a new “Bond Street” the L1 area. It is a cathedral of commerce separate from the issues that exist everywhere else in the city.

Binary Graffiti Club.

 

Stanza Artwork

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

Inspiring young people to see the city as canvas to create change. This is a selection of images that represents the hopes and aspirations of young people set in various contexts in especially made binary hoodies.

Data data data

 

stanza Artwork. Live sensor data. 2010

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

A live projection of environmental changes. Sensors scattered over the building respond to changes in space in real time. They are turned into an event space projected into ropewalks square. This artwork is networked, its real time, and its takes data from a wireless sensor network that is placed in the real space.

Mental Memes.

 

Stanza Artwork.  2010

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

The idea is to create a visual regeneration with the mind. I want to use space and time at a football match for an artistic intervention. The idea is to see the mind as a public domain space for this intervention; and to make an artwork using this space.  This project is about giving some time back to a collective entity, a visualisation for a common good to empower the space around us. In this case the city. It might be a simple mind map or it could be a complex linking of all the heartbeats of the audience.

Soundcities

 

Stanza Artwork.  2010

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

From the first UK soundmap project, here are 200 sounds from all over Liverpool, Gathering assets for mediated visualisations across Liverpool. (http://www.soundcities.com/)

an online artwork using images from across the city, representing the struggle for change.

Spy

 

Stanza Artwork.  2010

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

Robotic sculpture frogs see people and tell them what to do. The programmed frogs can talk and as you walk passed them they tell you what they think.

In God We Trust.

 

Stanza Artwork.  2010

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

The idea was to collect data in the house of god to monitors His presence. Sensing God with environmental monitors. The data is turned into sounds and visuals. ie a sonification of God space and a visualization thus questioning our belief systems.

Portal.

http://www.stanza.co.uk/ropewalks%20square/index.html

A proposal to cover Ropewalks and to create a unique arcade. Moving away from old metaphors of Liverpool’s imperial history, to create a newer global image, digital and creative, a vibrant risk taking culture that is  independent, free thinking and global.

All artwork Stanza. 2010