New Commission For Wolverhampton Art Gallery using networked cameras feeds

September 22, 2014 No comments »
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Title: Parallel Realities: Entropy Through Black Matter: By Stanza 2014. Commissioned by Wolverhampton Art Gallery to celebrate the Black Country Echoes Festival.

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

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

 

 

 

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

August 22, 2014 No comments »
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The artwork “The Agency At The End Of Civilisation” is a real time interpretation of the data of the Internet of Cars project using the UK car number plate recognition system aligned with real time images from one hundred CCTV cameras in the region of South of England. The installation presents all this as a spatialised audio experience of spoken texts and generative visuals. The audience engages with the work as observer (of the surveillance and recorded space) looking at 24 screens, a dozen speakers, and a labyrinth of CCTV cameras built as an art installation presented on a plinth. http://stanza.co.uk/agency/index.

The Agency At The End Of Civilisation. By Stanza

The Agency At The End Of Civilisation. By Stanza

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

July 22, 2014 No comments »
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The Emergent City. By Stanza

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

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

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

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

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

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

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

New Commission – Software system manipulates the real time transport data in London

May 6, 2014 No comments »
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Syncronicity: Layers of Infinite Possibilities In A World Of Closing Borders

Syncronicity: Layers of Infinite Possibilities In A World Of Closing Borders

Syncronicity: Layers of Infinite Possibilities In A World Of Closing Borders.” manipulates the real time transport data to re-interpret the city fabric as an organic pattern based system. Synchronicity becomes a hybridized maze, a cellular and organic system which is presented to the screen. The artwork uses real time bus and tube data from real time transport data London. 3d portrait of Stanza  inside live London data.How will big data empower the system and does this added value allow more freedom or does it seek a more subversive form of control?

http://stanza.co.uk/sycronicity1/index.htm

stanza_body2stanza_data1

Syncronicity: Layers of Infinite Possibilities In A World Of Closing Borders

Syncronicity: Layers of Infinite Possibilities In A World Of Closing Borders

Exhibition at TSSK Metamorf Trondeim Norway. The Emergent City By Stanza.

May 5, 2014 No comments »
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TSSK Metamorf May 1 2014. The Emergent City By Stanza. Live data from across the city used to connect city spaces.

The Emergent City By Stanza

Photo of Installation By Stanza TSSK

Photo of Installation By Stanza TSSK

http://www.artlyst.com/articles/stanza-real-time-city-of-bits-installation-unveiled-in-norway

http://trondheimkunsthall.com/news/Hacking-Access-A-conversation-with-Stanza

http://www.adressa.no/kultur/article9593901.ece

http://metamorf.no/?p=72 http://www.samtidskunst.no/

I make artworks that arise from my research into the themes of  ‘control space’ and ‘surveillance space’ and issues with privacy. What I’m doing, which is sort of new ground, is that I’m hacking access to a network and re-appropriating the data and information, and I’m re-contextualizing it to give it a wider meaning. I want to show that you can do something positive with this data. And as I say data is the medium of the age.

Where do you see net art is going from here? Increasing complex divergent and data driven experimentation might cause a reliance on other peoples systems of ownerships (i.e. apis, code bases, gateways) that will only have a certain longevity. As net art there are now several important levels of investigation and pathways. 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, and to speculate where these technologies could lead us in the future. The path I am taking is to connect virtual spaces online creating what I call “The Third Space”. 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.

TSSK Metamorf May 1 2014. Sonicity By Stanza

Sonicity

Stanza er en av kunstnerne som stiller ut under kunst- og teknologibiennalen Metamorf. Her er tradisjonelle intervjuredskaper avleggs.

May 3, 2014 No comments »
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The Emergent City. A Life From Complexity to The City of Bits. By Stanza

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

Lyden av Trondheim

– Penn og papir? Du gjør det på gamlemåten, ser jeg.

Stanza er en av kunstnerne som stiller ut under kunst- og teknologibiennalen Metamorf. Her er tradisjonelle intervjuredskaper avleggs.

Det blinker og durer fra titalls små lys og propeller inne på visningsrommet til Trøndelag senter for samtidskunst. På gulvet ligger det et nett med ledninger, høytalere og elektroniske komponenter som sammen ligner en storby sett fra fugleperspektiv.

Britiske Stanza er en internasjonalt anerkjent kunstner som blant annet var en av de første til å bruke internett i kunstnerisk øyemed. Han har brukt ti år på å utvikle skulpturen «The Emergent City» til det den er i dag.

Gjør bylivet til kunst

– Skulpturen mottar informasjon fra sensorer jeg har plassert på forskjellige steder i Trondheim sentrum. Sensorene registrerer endringer i bymiljøet, det kan være lyder, lys, luftfuktighet og vibrasjoner, forteller han. Denne informasjonen visualiseres gjennom den elektroniske miniatyrbyen. Det er altså data, ikke maling, stein eller tekstiler, som er materiale hos Stanza.

– Gjør det at kunsten din fort kan bli veldig abstrakt?

– Egentlig ikke. Jeg skjønner at det kan oppfattes slik, men skulpturen behandler dataen den mottar og gjør denne lesbar, sier han, og forteller at skulpturen opererer på to nivå: Det første er det rent estetiske, det skulpturelle. Det andre nivået er det performative, hvordan Trondheim og byens innbyggere påvirker kunsten.

– Det er ikke selve teknologien, men det den registrerer, som er viktig. Kunsten er ikke her inne i dette visningsrommet, den er der ute, sier kunstneren og peker mot glassfasaden og gatelivet utenfor.

 

Større enn storebror

Et viktig aspekt ved Stanzas kunst blir dermed at den foregår i sanntid.

– Dette blir noe annet enn det å se «Mona Lisa», for eksempel. Der har du et uforanderlig verk i fastsatte omgivelser. Jeg bruker blant annet overvåkningskameraer fra London i denne installasjonen, som gir direkte bilder av hva som skjer i byens gater, forteller han.

Et annet sentralt tema er nettopp overvåkning og skillet mellom det private og det offentlige rom. Ideen om panoptikon, det at én eller få personer kan overvåke mange, blir aktualisert.

– Verkene mine kommenterer forskjellige fremtidsrettede scenarioer. Mennesker overøses i stadig større grad med informasjon, hele tiden. Jeg mener at vi må bli flinkere til å lese denne informasjonen fortere og forstå hvilken rolle hver enkelt spiller i denne sammenhengen, sier Stanza. Han beskriver et scenario der alt en person foretar seg når hun går ut av døren, hver eneste handling, bevegelse, lyd og vibrasjon, blir sporet, overvåket og kartlagt.

– Verden vi lever i er mye mer kompleks enn George Orwells opprinnelige visjon om at storebror ser deg. This is the Mother of Big Brother, slår Stanza fast.

Blikk for detaljer

Kunst- og teknologibiennalen Metamorf arrangeres nå for tredje gang. Temaet er «Lost in Transition».

– «Transition» betyr overgang. Små overganger skjer hele tiden i hverdagen vår, men vi legger ikke så ofte merke til forandringens gang. For eksempel ser vi at en blomst vokser, men vi er ikke i stand til å observere selve prosessen, forteller kurator Espen Gangvik. Biennalen foregår på Trøndelag senter for samtidskunst, Babel visningsrom for kunst, visningsrommet Rake og på Gråmølna, med 16 utstillinger i tillegg til konferanser og konserter.

– Utstillingen på Gråmølna er i stor grad orientert mot å undersøke mulighetene som teknologi kan tilføre kunsten. En av kunstnerne som stiller ut her er nederlenderen Marnix de Nijs, han har laget en interaktiv reise gjennom et landskap som er generert av fotografi folk har lagt ut på internett. Publikum beveger seg gjennom dette landskapet, som projiseres på en stor skjerm, sier kuratoren.

Et kunstnerpar som bokstavelig talt belyser små endringer vi ellers ikke legger merke til, er Evelina Domnitch og Dmitry Gelfand. På Babel viser de «Hydrogeny»; en installasjon bestående av en vanntank det strømmer hydrogenbobler ut av. Mens tanken produserer hydrogen, projiseres et laserlys mot den, noe som gjør at hydrogenboblene blir synlige for publikum, i et vidt fargespekter.

– Det ligger noe vakkert i dette med overganger. Det sies at det eneste som er konstant i universet er forandring. Vi er fortryllende fortapt i forandringens rom, mener Gangvik.

http://www.adressa.no/kultur/article9593901.ece

 

 

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

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

 

Stanza’s Object-Oriented Aesthetics By Charlie Gere

December 5, 2013 No comments »
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Stanza’s Object-Oriented Aesthetics Charlie Gere

Stanza may be one of the most prolific and productive artists working today. For three decades he has been making work ‘about cities, landscape, surveillance space, and urbanism. These installations are often networked data experiences, fusing networks of live real time environmental data, live CCTV feeds, or live media visualisations’, as his website puts it.  Much if not most of his work over the last twenty five years has been concerned with the city and with real-time technologies of surveillance and information and has often involved using and even making electronic devices. What is particularly interesting about Stanza’s work is that he understands how to use in creative and novel ways a whole range of tools and technologies, which, along with his prodigious rate of production, means that his output is a kind of map of shifting technological realities and possibilities.

Meltdown_2004_.120-90

 

 

 

 

 

 

 

 

 

 

 

 

 

 

He groups many of his artworks over the last twenty five years under the rubric The Emergent City Projects. This goes back to work in the mid-1980s when he was making music videos about ‘cities, networks and urban situations’ using ‘VJ decks and experimental TV techniques’, and has continued to this day. Stanza’s prolific rate of production, and his continuous exploration of the possibilities and meanings of media and the environment make it almost impossible to track and map all his work, or even to gain an overview that would make it possible to grasp its totality. In this regard his work resembles the cities with which much of it is concerns, inasmuch as they too defy such a grasp.

Despite this, ‘Emergent City: From Complexity to the City of Bits’, the exhibition of Stanza’s work at the Waterman’s Centre in Brentford looks at first like a more or less conventional display of art. It occupies a white cube space, which is filled with both sculptural and painterly objects, as well as projections. Yet, unlike much conventional contemporary art, and in keeping with the complexity of Stanza’s work, it is oddly reticent inasmuch as it is hard to tell at first what is going on. Things are happening, both on the floor, and on the walls, but what they are is not immediately apparent. Far from being a problem I suggest that this opacity is the work’s great strength. Its very refusal of easy understanding is a profound reflection on the world itself, and the degree to which it is available to us.

Stanza’s art is consonant with a new philosophical position, or rather set of positions, that has recently emerged, that seeks to develop just such a complex understanding. There are a number of names associated with this, including Speculative Realism, Object-Oriented Ontology, and the New Materialism. Among its major figures are Quentin Meillassoux, Graham Harman, Levi Bryant, Ian Bogost, Jane Bennett, Vickie Kirby, and Timothy Morton, though it must be said that there are many others also working in the same are, and also that this is not to ascribe any overly unified character or set of beliefs to these thinkers. Nevertheless they offer a new way of thinking about the world, one that does not reduce it to what is available to human consciousness.

Art does not, indeed cannot tell us about things in the way that science or philosophy does, but it can tell us something about how we can come to know and understand the world into which we are flung. To put it another way it offers us an insight into the act of knowing and the way that that knowing is structured and determined. Works of art set us up us as observers of different sorts, according to the dominant epistemologies of the context in which they are made. Thus to look at a work of art made in a context different to that in which we find ourselves is to be given a potential insight, however partial, into a different way of thinking about and representing the world. Take, for example, the development of regimes of representation in painting in the West, from the Middle Ages to now. In the former period representation was organized according to a theocentric understanding of the cosmos, one that was coterminous with the dominant scholastic epistemology. Accordingly the visual regime of painting evinced a particular spatial arrangement, in which the size of those represented was structured in relation to their status within this divine economy.

Portraits Of The Artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

With the emergence of modernity, the disappearance of God as active participant in the world, and the concomitant rise of the human subject as source of knowledge, pictorial representation was ordered according to a different spatial logic, that of the viewpoint of such a subject, a static, monocular viewpoint, separate from that which is being observed. This form of representation was of a piece with the emerging understanding of the world from the perspective of the human subject, which found its most cogent expression in the work of Rene Descartes. Martin Jay goes so far as to describe the parallels between philosophical understanding and pictorial representation as ‘Albertian-Cartesian Perspectivalism’, acknowledging that Descartes’ thought was prefigured by the architect Alberti’s theories of how to represent the built environment. Perhaps the culmination of this kind of thinking was the Kantian division of the things of the world into noumena, the things as they are in themselves, and phenomena, the things as they are appear to us. For Kant our speculative reason can only know things as they appear to us, therefore the world can only be understood in terms dictated by its availability to human consciousness.

With the new understandings of the world brought about by Nietzsche, Freud, Bergson, Einstein and others in the late nineteenth and earlier twentieth centuries, new forms of representation emerged, including Impressionism, what came to be known as Post-impressionism, Cubism, DADA, Surrealism, and so on. With such movements new forms of seeing and knowing were enacted that took account of a more complex and fragmented universe than that supposedly available to the subject of modernity. This continued with the postwar avant-garde which engaged in a radical investigation into the very nature of representation, where and how it took place, and for whom it was intended. As such it paralleled philosophical movements such as Deconstruction which attempted the same for thought.

In the last thirty or so years it is arguable that art appears to have lost its sense of critical engagement with the world. Instead the imperatives of the market seem to be the determining factor in the production of art. But we cannot blame the failure of such work solely on the overly close relation between the art market and neoliberal late capitalism. There is a more complex issue at stake, which is the impossibility of reflecting on the world through purely visual means. Vision itself presupposes a certain subjectivity. To be able to capture the entire meaning of an artwork in the visual field is to be set up as an autonomous subject, capable of mastering what she sees. Yet, as theorists such as Fredric Jameson and Michel de Certeau pointed out many decades ago, the world is not amenable to such visual mastery. This is particularly true in our massively networked culture, in which the means by which power is wielded are largely concealed from us.

Jameson and de Certeau can be regarded as practicing a ‘hermeneutics of suspicion’, that critiqued modernist pretensions to visual and other forms of mastery. The moment in which they wrote the work cited above is often described as the beginnings of ‘postmodernism’, a crude term encompassing a wide variety of positions, but which can be seen as a general attempt to dismantle the edifice of philosophical modernity. As such it remained largely critical and even negative about that with which it engaged.nBy contrast the new philosophies mentioned above seek to go beyond this negativity. One idea that is shared by many of its proponents, that of a turn away from what has been named Kantian correlationism, the notion that the only world that is knowable is the one that is available to human consciousness. One of the consequences of this move has been an emphasis on the agency of non-human ‘actants’.

Perhaps the major figure in developing this line of thought is Bruno Latour, best known as a sociologist of science, but increasingly recognized as a philosopher for whom science offers a powerful set of exemplars of a more general understanding of the world. Latour was originally identified with the set of sociological methodologies known as Actor Network Theory (ANT). At the risk of oversimplification Latour’s dominating idea can be summed up as follows: nothing can be reduced to anything else. This does away with the modernist dualism in which a human subject stands apart from and stands over non-human objects. In Latour’s universe all entities have agency, and an equal say in how the world is and how it is understood. Latterly Latour has been taken up by thinkers connected with Speculative Realism, in particular Graham Harman, for whom Latour is the exemplary philosopher of post-correlationist thinking.

One of the crucial terms in Latour’s vocabulary is that of ‘black box’, a term originating in engineering to denote an element within a system whose effective working can be taken for granted, and therefore requires only input and output. For Latour the black box is the name for those elements within any set of theories about the world that we can take for granted. An example might be the structure of DNA as a double helix, something now almost entirely uncontested, and simply assumed in any discussions of genetics, but which once had to be argued for by assembling what Latour calls ‘allies’, both human and non-human, through which to defeat rival hypotheses.

stanza installation

 

 

 

 

 

 

 

 

 

 

 

This brings me back to Stanza and to the kind of art he practices, which I believe is the correlate of the philosophical ideas described above (without in any sense being illustrations of that work, or even evincing an awareness of it). This possibly reflects the fact that both the art and the philosophy emerge out of the same complex set of conditions, in particular the experience of living and working in a highly mediated ‘network society’, in which digital technology offers a powerful literal model of non-human, non-biological agency. It is worth noting that much of the discussion and debate in the philosophical circles described above bypasses traditional means of scholarly exchange, and takes place in the blogosphere. (Here it is important not to simplistically confuse or conflate digital networks with the actor networks talked about by Latour and others.)

That Stanza engages with the city as the main focus of his work is apt in this context, given that the urban environment can stand as a good model for the complex interactions and relations that thinkers such as Latour see as governing our world. Indeed Latour has written a small book, Paris: Ville Invisible, which makes this exact point. In this book Latour describes the highly interconnected and often hidden structures of the city of Paris, in order to demonstrate the degree to which what we see of a city is only a very small part of a far more complex situation.

Stanza might be understood to be doing something similar with his Watermans exhibition. The first work the visitor encounters is a screen showing a grid of live feeds from CCTV cameras across London. By showing a vanishingly small number of the multiple viewpoints available to the inhabitants of the city Stanza already allows to see how any panoptic view or unifying vision is impossible, and indeed that vision itself maybe almost entirely pointless as a means of understanding the city’s complexity. Turning round from this one is then confronted by a large installation occupying most of the gallery space, which is clearly the centre and focus of the exhibition. It is an accumulation of computer hardware arranged to look like a city. It is kinetic inasmuch as lights go on and off, and elements revolve at intervals. The spectacle is compelling in that what might at first just look like a model of a city exhibits some kind of autonomous activity that seems more than merely automatic. The various kinetic and light elements are in fact responding to Stanza’s own network of environmental sensors at his home and nearby. Relayed through the internet to a pair of Arduino microcontrollers the captured data determines the actions of those elements.

Stanza’s work not only performs the way in which non-human actants now appear to talk to each other, especially in relation to the so-called ‘internet of things’, but moreover how these conversations take place in literal black boxes, in other words the computers and networks whose operation is both largely hidden from us, and at the same time vital for our everyday existence. But this must not be seen merely as a comment on network technologies. Rather it should be understood as reflecting a more complex and widespread aspect of our existence, in short the degree to which we can now recognize that everything can and does communicate everything else. Much of this communication is not easily available to human subjects. Thus the opacity of Stanza’s and other new media work can be understood as the most profound artistic response to both our current mediated condition and to the new ontologies and philosophies it has engendered.

stanza sonicity

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mark Cosgrove, director of programme at Watershed, the Bristol venue where Stanza has recently shown work, has claimed that ‘Stanza may well be the Picasso of the Internet’. This may be a little tongue-in-cheek, as well as an acknowledgement of Stanza’s protean workrate and capacity for experimentation within his chosen media, and indeed his technical virtuosity. But it also suggests something else, equally, if not more important. Picasso was perhaps the artist who first understood the implications of radical developments in science and philosophy at the beginning of the twentieth century, and found consonant forms of visual expression. Working at the end of the twentieth and the beginning of the twenty-first centuries, Stanza is developing an artistic language that can reflect the new ways of thinking about the world that are currently being proposed and debated.

Recently the term ‘The New Aesthetics’, coined originally by designer James Bridle, has been bandied about to describe the new aesthetic sensibility available via the artefacts of digital technology and computer visualization. Recently Ian Bogost, one of the leading exponents of Object Oriented Ontology, took the idea to task for not going far enough or being weird enough. Taking his cue from his book Alien Phenomenology, or what it’s like to be a thing, Bogost declares the need for an object-oriented aesthetics, and suggests that

A really new aesthetics might work differently: instead of concerning itself with the way we humans see our world differently when we begin to see it through and with computer media that themselves “see” the world in various ways, what if we asked how computers and bonobos and toaster pastries and Boeing 787 Dreamliners develop their own aesthetics. The perception and experience of other beings remains outside our grasp, yet available to speculation thanks to evidence that emanates from their withdrawn cores like radiation around the event horizon of a black hole. The aesthetics of other beings remain likewise inaccessible to knowledge, but not to speculation—even to art.

Stanza’s work may be seen as offering something of what Bogost proposes, an object-oriented aesthetics, that enables non-human actants to participate in the processes of representation and art making, and in doing so finds a means of expression that is adequate to our complex, interconnected world.

For me Stanza does not conform to the traditional idea of the artist as someone who operates at the level of human aesthetics. It is rather as if he had taken it upon himself to be a channel for the expanded range of aesthetic experiences available beyond the human sensorium, and find some modes of expression that can make those experiences available to us. There is a sense, looking at and hearing his work, of it being a vanishingly small representation of a far greater set of possibilities, and it is only his human finitude that limits his production. Looking at the work on his ‘Central City’ website is overwhelming, perhaps deliberately so. In the end it may be that the most meaningful and challenging aspect of Stanza’s art is not to be found in individual works, or even in their collective existence, but in their excessive and overwhelming profusion, which hints at the almost infinite range of other outcomes that might also be possible.

Though it is clearly important to reflect upon the malign uses of new technologies, such as their use in state surveillance, and a role for art in doing so, Stanza’s work offers something different, which I can only describe as a joyful and even celebratory engagement in the possibilities of these new media, and in their capacity to offer new aesthetic experiences. This does not of course mean that he avoids the complex questions concerning technology and the environment that his work attends to, but that there is also a space for a celebration of what such technologies make possible.

 

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

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

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

 

Bus On Fire By Stanza 2011

Bus On Fire By Stanza 2011 C print on aluminium

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

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

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

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

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

Underpinning these artworks, are a whole series of potential problems about observation, surveillance, and the ethics of the control space. Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analyzed, interpreted and logged

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

November 4, 2013 No comments »
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The Binary Graffiti Club by Stanza. Stanza opens the Frequency Festival of Digital Culture festival hosted in the city of Lincoln, with his participatory artwork The Binary Graffiti Club. On 18th October 2013 hooded youths in specially designed hoodies took to the streets of Lincoln. Moving around the city in groups The Binary Graffiti Club encoded the city with messages in binary code. The walls, pavements, and empty spaces were covered in over 101 unique and different artworks. An extension of the “flaneur” who wanders without aim The Binary Graffiti Club create new sense of urgency and agency as the city is reclaimed for cultural change.

The Binary Graffiti Club

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

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

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

You can also Commission – The Binary Graffiti Club.

 Graffiti from the 101 Artworks made In The City of Lincoln

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

 

 

 

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

September 4, 2013 No comments »
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Stanza On The Front Row BBC radio 4 Talking about Big Data.

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

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

Artwork By STanza

Systems Thinking. In Conversation with the artist Stanza

August 8, 2013 No comments »
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Systems Thinking.  In Conversation with Stanza

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

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

Read the Full Interview here

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

Portrait of artist Stanza

Portrait of artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

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

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

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

Artwork By  Stanza Using Big Data

 

 

 

 

 

 

 

 

 

 

 

 

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

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

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

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

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

How have you used the gallery space for this piece?

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

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

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

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

 

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

Dara Visualisation by The Artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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Stanza Body  [Data as Culture]

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

sculpture By The artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

‘Data as Culture’ is reflective of our time.

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

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

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

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

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

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

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

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

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

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

stanza art installation

 

 

 

 

 

 

 

 

 

 

 

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

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

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

Artwork By Stanza Using CCTV

 

 

The Exhibition At Watermans Of Data Driven Installation.

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Data artworks by stanza

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

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

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

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

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

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

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

stanza_art7-056

 

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

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

Stanza_body1

Conference Durham University, 21-22 November 2013

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

Calculative Devices in the Digital Age Durham University

The conference will be oriented to the following key themes:

•Data and calculation  – algorithms and algorithmic logics

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

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

•Calculating futures – uncertainty, prediction and potentiality

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

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

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

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

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

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

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

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

stanza-473

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

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

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

FASCINATE will explore technology, design and experience related to ubiquitous computing. Areas of interest include: ambient intelligence; experience design; cognitive environments; augmented performance; pervasive media and the internet of things.
FASCINATE will offer participants the opportunity to present and discuss their work, inspire and be inspired by the work of others across a range of fields of practice; build on the experience of keynote speakers and establish new and eclectic collaborations.
Stanza Portrait 2012

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.fascinateconference.com/info/

FASCINATE 2013 : 28-30 August : Falmouth University – Cornwall – England

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

FASCINATE will explore technology, design and experience related to ubiquitous computing. Areas of interest include: ambient intelligence; experience design; cognitive environments; augmented performance; pervasive media and the internet of things.

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

Other keynotes from Atau Tanaka Ruairi Glynn Seth Honnor

stanza_may-183