Archive for May, 2012

Touch screen artwork exhibition In Madrid 2012. The VIDA retrospective,

May 31st, 2012

The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive. On the floor is a generative map of the city of Madrid.

Stanza The Central City Installation

ARTE Y VIDA ARTIFICIAL – VIDA 1999-2012

El concurso de Arte y Vida Artificial VIDA fue creado por Fundación Telefónica en 1999 para promover la creación artística basada en las nuevas tecnologías y se ha convertido en uno de los premios artísticos de mayor prestigio en el encuentro entre el arte, la ciencia y la tecnología.

A lo largo de sus trece ediciones VIDA ha premiado obras artísticas desarrolladas con tecnologías de vida artificial y sus disciplinas asociadas como la robótica, la inteligencia artificial, los algoritmos caóticos, los virus informáticos, la biotecnología, los entornos virtuales o la escultura sonora y se han presentado 1.478 proyectos procedentes de más de 50 países.

La presente propuesta expositiva, comisariada por KarIn Ohlenschläger, deja patente la evolución del concepto de vida artificial en relación al arte y la existencia de distintos modos de indagar y afrontar el diálogo entre arte y nuevas tecnologías.Algunas de las 23 obras expuestas simulan la evolución y los comportamientos de los sistemas vivos en soportes digitales y animan materiales inertes. En otras, se acometen de manera decidida la manipulación y transformación de la materia viva. Con ello los artistas nos hacen partícipes de la reflexión sobre qué es la vida.

La exposición también permite explorar la convivencia entre distintas especies naturales y artificiales, entre lo físico y lo virtual, entre lo orgánico y lo tecnológico. Estas experiencias aproximan la vida artificial a nuestro entorno cotidiano.

Stanza The Central City Installation

Se muestran obras que afrontan los valores éticos y simbólicos del avance de diversas ramas de las ciencias y crean conexiones entre el arte, la ciencia y la conciencia social, política, económica y cultural.

El recorrido por la exposición se articula en cinco secciones que nos llevan desde la escala nanométrica del ADN hasta la dimensión planetaria de la vida : El código de la vida ); Robótica: orden e insumisión;, Sistemas simbióticos; la vida es comunicación y Membranas sensibles.Here are some images from the recent exhibition in Madrid for Vida. The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive.  On the floor is a generative map of the city of Madrid.

Stanza has exhibition of artwork In Madrid 2012, The VIDA retrospective,

In Search of a Digital Masterpiece (or Two): Stanza

May 31st, 2012

 

Abstract.

In Search of a Digital Masterpiece (or Two): Stanza

By Maria Chatzichristodoulou [aka Maria X]

This article (5000  PUBLISHED BY MIT PRESS) discusses Stanza’s artistic practice in relation to the ever-contested, severely loaded and perpetually evasive concept of the ‘masterpiece’ to ask: Are there any digital artworks that can be said to merit the title of a masterpiece? (Paul, 2011). And, can Stanza’s works be described as such?

Stanza is an internationally recognized, award winning digital artist, pioneer in his use of technology in the arts, who boasts a vast and diverse body of work that spans a range of practices, techniques and media: from prints, video and net art works, to interactive installations, responsive environments, generative art and complex digital ecosystems. The thematic strands, aesthetics, and affective impact of Stanza’s work have remained remarkably consistent over the years, dealing with issues such as urbanism, solitude and surveillance culture. His practice, nonetheless, has undergone significant shifts, moving from the creation of linear, object-based works such as prints and videos, to large-scale compositions of (a)live, open-ended, permeable, and unpredictable systems.

On my way out of the Thursday Club event I encountered digital artist Stanza an artist whose practice I have been enticed to follow since the late 1990s, when he contributed generative artworks of the Amorphoscapes series and the net art piece The Central City to the Medi@terra art and technology festival I was co-directing at the time (Athens, Greece). Stanza is an internationally recognized, award winning digital artist, pioneer in his use of technology in the arts, who boasts a vast and diverse body of work that spans a range of practices, techniques and media: from prints, video and net art works, to interactive installations, responsive environments, generative art and complex digital ecosystems. He started creating and presenting work in the mid-1980s with pieces such as Artitextures, a multi-monitor video art installation (originally made as video wallpaper) presented at the V2_ Institute in Den Bosch, Holland (1986); and the Conundrum video, shot in the grey cemented mazes of South London and heavily aesthetisized in postproduction (1987). Both works use city images and sounds to reflect upon fractured urbanity, communicating a sense of cultural discontinuity and emotional isolation within a post-industrial urban landscape. Though the thematic strands, aesthetics, and affective impact of Stanza’s work have remained remarkably consistent over the years, dealing with issues such as urbanism, solitude and surveillance culture, his practice has undergone significant shifts: he has moved from creating linear, object-based works such as prints and videos, to (often grand-scale) compositions of (a)live, open-ended, permeable, and unpredictable systems characterized by a state of flux.

full essay over at MIT  press

www.stanza.co.uk/about/essays/STANZA_LEA_03.pdf

 

 

 

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 artwork installation The Central City in Madrid May 2012

May 1st, 2012

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.

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)