Archive for the ‘cctv’ Category

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

VIRTUAL INTERNET CITIES. LIVE DATA CITIES. BY STANZA 2007

December 8th, 2010

VIRTUAL INTERNET CITIES.

The Emergent city

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. To take part you really have to put something back in, that’s like life. In this case, to take part you have to input data so others ‘may’ see the output of the data response.

Stanza CCTV artwork

Image: Stanza CCTV artwork using 200 CCTV cameras over one night. 2005

Lets imagine a space in which every action, memory, thought, feeling,  has a connection to every other action. A space where all data in the system, seamlessly integrates with all others. This place exists, it’s inside our heads. The emergent metaphor of the brain has many similarities with the emergent connectivity of cities.

Panic Noise

Mobility can be seen from traffic patterns, to pedestrian patterns, to bird flocking patterns; to multi-threaded patterns along a time line. Patterns can be seen in the architecture, the buildings, the architectural fabric of the urban design network. And closer inside the micro patterns of the city, we have the life cycles of the atomized, the insects, the life of continuity all of which exist along a timeline of past present and future. The city has a history. Stories relative to time and place, stories from the street. Love stories personal and  extreme, crime stories, stories that are small or that can affect global parameters. Inside the mobile city there are future stories and future worlds to invent and discover.

 

All of these spheres can be represented by media and therefore by data within the digital realm. And all of this mobile data can be interpreted and mediated. It becomes a matter of choice. Collections of data can be stored to be retrieved later. The mobile data infrastructure becomes a data source so powerful so interwoven that its scale can only be imagined as metaphor.  The size and scope of such an archive, of such rich mediated data experience would support many projects.  As such it can be interpreted as history via one sort of interface or as a game via another sort of interface.

 

Cities offer the opportunity for unique types of data gathering experiences via a variety of sources. An emergent  process data mining from all sides, online  for  all.  People collecting data, sounds, stories, photos, that can be filtered back into such a system.

 

stanza art data city

 

A possible objective is to ‘mediate’ data into conceptual artifacts. With this perspective there are many unimagined threads of data and connections that describe our world that can be explored through wireless mobile networks within which we can create artistic interpretations.

The network that all this takes place in is the grid of the city. In Shanghai in the planning museum you can see this in one room by looking at the model of the whole city. Mobile devices, wireless, or sensor devices, can trace and track you through such a system where data impacts to unfold meaning. This data can in effect be for aesthetic purposes as well as for marketing, and delivered as any type of media.

A model of the city could be made in this case as a simulated experience. An example of this is a controlled ultrasound sensor rig which pings sound in relation to ones position in the system (used in my Robotica artwork). It will allow you to fade sounds as you move about. Another example would be GPS positioning systems within real cities spaces, or which there a number of projects in development worldwide, and I used it for example in “Sheep“.

 

Types of data can be re-imagined. This includes pollution data recorded via sensors in the street, to create audio acoustic files expressing the pain and suffering of the air as it pollutes. Weather and forecast data, acquired via weather station equipment, this can be used and can create ambient soundscapes and morphing visualizations as the wind shifts direction or the rain increases. Noise monitor levels, and noise maps, create a symphony of true urban sounds that can be used to make sound reactive sculptures.

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. I take the sounds and images of live web streams and re-represent them thus creating new interpretations of the city in the process.

Third Great Revolution

The State doesn’t allow access to certain data because of the data protection act, but what happens when things change? Walls do fall down, governments change, ideologies become overtaken. The data explosion will be immense, but only an open sourced egalitarian system will allow transparency and sharing of wealth and information. Many networks protect the entry and their content and too many have all content loaded to these database which belongs to dot dot dot ..(not you)

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

Text:  Stanza 2007

 

Sonicity: Networked Soundscape at Lanternhouse

December 7th, 2010
stanza artwork sonicty

Stanza Installation. 2010. Sonification Of Space

Sonicity Installation is now available for touring.

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

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

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

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


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

The objective is to explore new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space.

The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies. Motes are used to collect the data. The ‘motes’ are tiny wireless sensor boards that gather data and communicate to the central server. The real world is monitored and the data stored in my archive retrieval system. Motes and sensor boards sense the micro incidents of change in the light, the noise, temperature, sounds of the flows inside the space.

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

Capacities gets award in Digital Turku.

December 7th, 2010

Capacities was given an award in Digital Turku in Finland for 2011. This is more great news the whole installation will be on show for two  months some time next year.

stanza artist capacities

Image: Stanza Capacities.2010. Responsive data artwork.

About Capacities:  The real world is made virtual and the virtual is made real again and exposed in the process.

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.

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

Another view:

stanza artist capacities

Image: Stanza 2010. Artwork Capacities.

Stanza Media Facade. Responsive Architecture.

November 30th, 2010

This proposal has won the Nova Folkets Hus facade international juried competition and is now in development.

This AOF Nova facade utilizes, electronic art, new digital media, interactive technology, dynamic real time solutions, and networked space to create responsive architecture that reflects the emotional real time state of the city of Trondheim by UK artist Stanza.

stanza_jtrondeima4_mockup3s

Stanza Media Facade 2010. Data from across the city.

Stanza artwork.

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 sensors interpret the micro-data of the interactive city. 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.

My environmental sensors are scattered all over the building and city; this means I am literally painting with live data.

This work opens up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This is used by me to make artworks but it is of equal interest to urban designers, city planners, and architects. The main point is to question the social political fabric of the landscape around us.

This work aim to reclaim the city which is remade as a real time virtualised space belonging to all.

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

New metaphors relevant to the experience of the city.

November 30th, 2010

Various types of data can be re-imagined within the context of city space and the environment.

stanzauu-077-copy

Image: Stanza Video Still 1986. Artitextures.

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 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 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.

stanza_cctvr

Image: Stanza Robotic CCTV sculpture 2007.

Stanza sculpture of robotic arms with CCTV copyright 2007

THE ARTISTS STUDIO AS LABORATORY

August 2nd, 2010

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

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

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

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

stanza_i_am _stanza

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

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

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

stanza_visitors

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

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

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

  • Sonicity
  • Capacities
  • Open Studio: Transparency

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

RESPONSIVE ARCHITECURE FACADE – DATACITIES

June 18th, 2010
stanza_artist_sidefacade_new2

Stanza . Responsive architecture. 2010. AOF Facade Norway.

This proposal has won the Nova Folkets Hus facade international juried competition and is now in development. The facade becomes 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.

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 sensors interpret the micro-data of the interactive city. 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.

My environmental sensors are scattered all over the building and city; this means I am literally painting with live data.

Stanza Live City Data

Artwork sensors in the building and around the city. Stanza 2010.

Artists residency at Lanternhouse.

June 18th, 2010
Stanza_artist-145

Image: Stanza Installation. 2009

Residency– A City of Dreams.

Dates – 21 July until 1 September 2010

This project will take place in the Barn at Lanternhouse,  as Stanza creates cityscapes in an Open Studio process. During the creation process,  Stanza will reveal the architecture of creation.  He will reveal the actual process; lay bare the reality of the work, physically by showing the machinery of the piece in progress and theoretically with a series of show-and-tell invitations to the public. This is also a new way of using the Barn as a studio and the project will help Lanternhouse make sense of the actual building and how spaces are utilised. In this way, the “open studio” mirrors the process of the project, with material and philosophical process being available to witness throughout.

Stanza will document his work and it will be available online for audience and participants to follow.  The Barn will be an Open Studio, a public domain space possibly with a live CCTV link available online at www.Stanza.co.uk for a public online audience to follow the process.  This is not the creation of a visual exhibition; this is open process and development / production of work.

Image: Stanza Capacities Installation. 2010.

Image: Stanza Capacities Installation. 2010.

Participation

A City of Dreams is process as exhibition, with opportunities for participants and audience to see the artwork unfold  and then to see the final piece during the last week of September. Participants will have the chance to talk with the artist at intervals through the six week period, as the work develops.  They can engage with the development as there will be the chance to be involved practically in building the city. Stanza will create this work/s and be available to participants during the day as agreed as an “open studio”.  The aim is to allow people to engage in making the work.

The artists website www.stanza.co.uk will be used as a showing space for the final piece and documentation and selected documentation will also be made available for Lanternhouse website.

Key themes: Networked, real time, responsive, mediated, online, dataspace, city, artwork.

Lanternhouse, The Ellers, Ulverston, Cumbria, LA12 0AA, United Kingdom

Three Blogs currently featuring work By Stanza

May 24th, 2010

Sensity V & A and interview with Stanza with We make Money Not Art (my favorite arts blog)

http://we-make-money-not-art.com/archives/2010/03/do-you-have-a-photo.php

The Last Supper and The City Of Bits on arkinet.  Its a shame  not all blogs  write a reviews as Regine does at we make money not art. But this one below have made a nice feature of my recent work at The Lanternhouse.

Stanza-gen

Stanza Urban Generation. Lives CCTV artwork: 2004

http://www.arkinet.com/articles/the-last-supper-and-the-city-of-bits-stanza

And finally. Le Magazine électronique du CIAC (canada)  est une publication en ligne et bilingue (français et anglais), qui couvre depuis 1997 tous les aspects de la cyberculture, de l’art et de la littérature dans leur relation à la technologie. Features stuff  about cities and sounds.

I was guest writer for this

http://www.ciac.ca/magazine/en/summary.html

http://www.ciac.ca/magazine/archives/no_36/en/paroledartiste.htm

And they reviewed this.

Pour une cité sensible. La Sensity de Stanza.

Alors que plus de la moitié de la population globale vit en contexte urbain, la ville est désormais prise pour acquis. La plupart des habitants, engoncés dans leur routine, oublient de regarder autour d’eux, sauf quelques flâneurs en puissance s’amusant à trouver de l’insolite au fil de leurs parcours familiers.

Stanza nous offre avec Sensity, un projet en branle depuis 2004, de nous réapproprier l’espace urbain sensible en le remixant. Déployant un réseau de capteurs mesurant l’humidité, la luminosité, les vibrations, le taux de pollution et les bruits ambiants tout en étant reliés à un système GPS, l’artiste a collecté des données dans plusieurs villes du monde dont Londres, Paris, Copenhague, Sao Paulo pour ne nommer que celles-ci. Ces données sont alors synthétisées et mixées afin d’offrir une tout autre expérience d’un quartier ou d’une ville par le biais d’une visualisation sur le Web, d’une installation, d’une projection, etc. Le potentiel ne manque pas en ce qui concerne les différentes incarnations issues du même matériau de base.


On constatera que Stanza offre à voir et à entendre des visualisations générées grâce à des matériaux captés en temps réel. Au premier coup d’œil, ces portions de cartes tirées de Google Maps, dans lesquelles des pastilles grises symbolisent les différents capteurs utilisés. Autour de celles-ci se dessinent des cercles, des traits erratiques et ce, sur un fond « musical » cacophonique, qui ne ressemblent en rien à l’expérience que l’on fait de la ville au quotidien.

UK artist Stanza wins VIDA 6.0, 2003

L’intérêt est moins porté sur les sensations d’un individu en particulier, mais invite l’internaute à effectuer une flânerie dans un univers entièrement constitué de données. Le chaos apparent se résorbe à force d’une écoute et d’une observation patiente, donc s’inscrivant dans la lenteur, en rupture avec la vitesse des flux de la ville. Une certaine structure musicale émerge de cette gibelotte de faits urbains et n’est pas sans rappeler la musique industrielle. Aussi, les effets visuels générés par l’œuvre subissent des changements traduisant différents atmosphères. D’un simple clic, sons et strates d’images peuvent être retirés de la visualisation en employant les boutons situés au bas de l’écran.

Pour apprécier cette œuvre, l’internaute doit prendre son temps et se dépêtrer de sa logique de lecture efficace. Sensity met en lumière le bouillon – l’éruption! – sonore auquel chaque passant est habitué et le tenant ainsi pour normal. Ce « mashup » audiovisuel nous pose devant le visage véritable de la ville d’aujourd’hui. Si l’architecture, par le biais de l’urbanisme, a permis de canaliser les déplacements des citadins, voire les domestiquer, dans les fragments urbains exploités par Stanza, l’environnement sonore reste quant à lui tout à fait sauvage. Sensity a le mérite de proposer une esthétique intéressante en accord avec une réflexion actuelle et essentielle sur le monde qui nous entoure. Si le résultat est déjà une réussite en lui-même, les réseaux de capteurs déployés par l’artiste restent tout de même de petite échelle, considérant les coûts du matériel impliqué. Bien plus que quelques morceaux de la nébuleuse urbaine, c’est le monde en entier que Stanza veut conquérir et mettre en musique.

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stanza datacities liverpool…my sensors al over google maps. 2008

Rappelons toutefois la figure du flâneur qui a été évoquée pour parler de la posture de l’internaute ou du spectateur. Il n’est pas ici question d’un regard appareillé par la marche, comme a pu le proposer Benjamin en parlant du flâneur baudelairien, mais plutôt appareillé par un réseau qui, à son tour, permet au spectateur d’exercer son regard et son écoute librement, y allant ensuite de sa propre critique. Cette dernière rend possible le recul du spectateur vis-à-vis ses perceptions habituelles, une réflexion sur ce qu’est devenue la ville aujourd’hui en forçant à mettre de l’ordre, rationnaliser le chaos audiovisuel présenté par l’artiste. Éventuellement, cette prise de conscience pourrait être vécue par tous grâce à la miniaturisation des capteurs (de la poussière intelligente espère Stanza), qui permettrait de rendre le matériau urbain sensible au même titre que les citadins. Le paysage urbain n’est plus simplement de verre, d’acier et de pierre. Il faut y ajouter les données qui, dorénavant visibles, permettent de consolider autrement la relation de l’être humain au labyrinthe de la ville.  By Benoit Bordeleau.

(This review is quoted in full for my own reference.)

Three exhibitions currently featuring my work. April 2010

March 30th, 2010

Three exhibitions currently featuring my work using data, and ideas connected with surveillance space, mapping, landscape and networked spaces. April 2010

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Image: Stanza live real time city data visualisation. 2007

1. ”Map Marking” features five works by artists and designers who employ digital technology to create maps, annotate them or intervene in the mapping process. Taken as a whole this exhibition represents a personalized cartography that endows maps and the spaces to which they are linked with the ephemera of life, from the fleeting sensations of the environment to the transitory movements of people and their emotions.
Apr. 6 – May 7, 2010, tue – fri, 12 – 6 pm, with a reception on Apr. 21st at 6:00 pm. The PDG show description (http://csis.pace.edu/digitalgallery/ ).

2. 2. “Park” Towneley Park Burnely as part of AND festival. April 2010 Looking towards the window in the gallery you can see a digital virtual landscape of the view through the window. The artist has embedded an image of the real world inside the artwork and using a network of multiple wireless sensors in Towneley Park he has recorded light, temperature, noise, humidity using customised environmental technologies. The painterly squiggles on the image show the data and the sounds you can hear are streams of data which the artist has turned into sound. http://www.stanza.co.uk/possibilities/index.html

3. Decode at V & A. Until 11 th April.  Sensing the gallery and the environment to make art. The results are the visualisation and sonification of real time spaces. Using custom made sensors in the V & A Porter gallery and around the city. 20 custom environmental sensors units measure, light, noise, sound, humidity, and temperature….this data is turned into a online real time visualisation of the space. Stanza’s work “Sensity V & A” uses environmental sensors scattered all over the museum and the city to make visualisation and sonifications. Literally painting with data these works open up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This is used by stanza to make artworks but it is of equal interest to urban designers, city planners, and architects. Stanza’s main point is to question the social political fabric of the landscape around us. This work aim to reclaim the city which is remade as a real time virtualised space belonging to all. The work is interactive, real time and responsive; it is also available online. http://www.soundcities.com/va/

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Image: Stanza Sensity V@A Decode Show.

“Visitors to a Gallery”- Exhibition. Plymouth Arts Centre.

March 4th, 2010
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Image: Stanza. Title "Visitors To A Gallery" - 2007

This artwork uses the live CCTV system inside an art gallery to create a responsive mediated architecture.  This project continues where Publicity version one (2004) left off, ie hacking or utitlizing existing real time CCTV networks.

This version is made inside the Plymouth arts centre where I was artist in residence for a month (feb 2008).

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.

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Image: Stanza. Title "Visitors To A Gallery" - 2007

Stanza real Time Smart City featured at Decode at V & A. Sensing the gallery and the environment to make art.

March 4th, 2010
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Stanza: Decode at V & A. Sensors all Over The Gallery

Last few days to  see decode at the V & A. London.This is what it looked like in 2008.

Its been quite a success despite the difficulty in keeping my  live sensor network running for a month. Sensing the gallery and the environment to make art. The results are the visualisation and sonification of real time spaces. Using custom made sensors in the V & A Porter gallery and around the city. 20 custom environmental sensors units measure, light, noise, sound, humidity, and temperature….this data is turned into a online real time visualisation of the space.

Stanza Sensors On Google Maps

Stanza Sensors On Google Maps

 

 

CCTV in the UK. Stanza 2006

February 6th, 2009
Copyright Image by Stanza

Copyright Image by Stanza 2007. Monument CCTV artwork.

Copyright Image by Stanza

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

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

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

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

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

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

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

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

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

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

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

Stanza London Art

Stanza London Art. Live CCTV visualisation. 2005

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

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

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

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

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CCTV images are being recorded

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