Posts Tagged ‘data’

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

Test Portal Gallery Holland. Stanza Artwork Exhibition.

May 26th, 2010

Show now on…Stanza Artwork for sale through the gallery.

Stanza_map_generator_f9d

Image: Stanza Map Artwork "Codified" 2006. Now available on canvas.

Available for sale…1m by 1m on canvas contact the gallery.

Vanaf 22 Mei presenteert de Test-Portal now Art gallery.
De stad, een levend organisme!
Zondag 13 juni is Test-Portal gallery van 12 tot 17 uur open en onderdeel van de kunstroute Westelijke eilanden Amsterdam.
http://www.kunsteilandenamsterdam.nl/artists/

Stanza, Uk LondenTitel: Soul of the City

Stanza onttrekt data uit steden voor zijn kunstwerken.Zijn visuele werken zijn een representatie, visualisatie en interpretatie van gegevens die uit het stads beeld worden gefilterd. Stads data van veiligheid camera’s, verkeers informatie en milieu.Stanza is een internationaal erkend kunstenaar.Hij exposeerde o.a bij de Biennale Venetie.
Meer over Stanza UK
Stanza onttrekt data uit steden voor zijn kunstwerken. Zijn visuele werken zijn een representatie, visualisatie en interpretatie van gegevens die uit het stads beeld worden gefilterd. Stads data van veiligheid camera’s, verkeers informatie en milieu monitoring. Omgevings sensoren gekoppeld aan zelf generende kunstwerken. Zijn media bestaan uit: schilderijen, video, print, zelf genererende kunst werken en installaties. Stanza’s werk is een cross over tussen de artistieke, technologische en wetenschappelijke sector.

Stanza is een internationaal erkend kunstenaar. Zijn werk won vele prestigieuze schilder prijzen en 10 eerste prijs awards. De laatste 5 jaar heeft Stanza oa. geexposeerd op de Biennale Venetie, Biennale Sydney en Biennale Sao Paulo, Victor en Albert Museum, Tate Britian, ICA London, Plymouth Arts Centrum, Madrid New Forest Pavilion.

Stanza generative coded wall.

March 4th, 2010
Brent Wall Projection example copy

Image: Stanza Wall Projection 2009

This artwork is inspired by the idea of an emergent data city. As we walk about, the patterns we make via phones, and gps systems, leave traces and memories of the places we have visited. This artwork tries to re-create those patterns as abstracted movements captured over time. The end result, the output are ‘maps’. “Codefied” creates patterned maps actioned by the interpretation of the code.

In the next version live networked data from GPS and 3g networks will create a live realtime accurate system of where we all are in the world at any one time. (screen size needed 1024 by 768) . In development it uses eleven people in real time to track through the city. Update march 2009.  I now have developed the GPS system fopr 15 people that tracks them all through the city and a preformance based piece is in development; an audio visual sonification and visualisation tracing / tracking the event in real time.

Brent Wall Projection example

Image: Stanza Wall Projection 2009

artwork by stanza….building as art…

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

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

March 4th, 2010
stanza_i_am _stanza

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.

STN003-fishdown

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
Stanza_sensity_va-0557

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

 

 

Stanza exhibits real time data network at Decode: Digital Design Sensations. V & A Porter gallery

November 22nd, 2009

Stanza is in this show…Digital Design Sensations. 8 December 2009 – 11 April 2010.

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.

The Victoria and Albert Museum. The exhibition will be centred in the Porter Gallery. The exhibition will explore three themes. Code as a Raw Material will present pieces that use computer code to create new designs in the same way a sculptor works with materials such as clay or wood. This section will look at how code can be programmed to create constantly fluid and ever changing objects. The second theme, Interactivity, will look at designs where the viewer directly influences the work. Visitors will be invited to interact with and contribute to the development of the works, many of which show designers playing with the boundaries of design and performance. The final theme, The Network, will focus on works that comment on and utilise the digital traces left behind by everyday communications, from blogs in social media communities to mobile communications or satellite tracked GPS systems.

http://feeds.vam.ac.uk/exhibitions/future_exhibs/Decode/index.html

Sensity by Stanza as part of Decode: Digital Design Sensations at the V and A. I wont be showing the globe but I will be showing live data visualisation of London and the V @ A.

Sensity contexts: Data and pervasive media.

February 6th, 2009
stanza

Sensors in The city. Data and pervasive media.

I was looking for works  predate my “Sensity” project (above)  and came across this: –  Toyo Ito completed his Tower Of Winds in 1986. A soft skinned exterior on a concrete tower represents the “visual complexity” of Tokyo filtering air, sounds, and noises of the city. ( I would like to  know if its real time and what technology what used). Either way this is a decade or two ahead of most of the development s in this field. The work uses over 1,000 lamps, twelve neon rings, and thirty flood lights, the last situated on the ground and directed upwards within the tower. The work, “reflects the complexity and nature of the city and its inhabitants.”  These works might concerns how the observer “maps relationship between in put and output as Lucy Bullivant expresses it. ( p9  Responsive Environments).

Sensity.

A series of artworks based on sensing the environment. The results are the visualisation and sonification of real time spaces.

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

City links and mobile city projects (mainly with phones)

December 3rd, 2008

Here is a selection of city links and mobile city art projects (mainly with phones). Pervasive media in the city.

http://urbantapestries.net/

Public Authoring in the Wireless City Urban Tapestries is the name of a research project and experimental software platform for knowledge mapping and sharing – public authoring – conceived and developed by Proboscis in partnership with collaborators such as the London School of Economics, Birkbeck College, Orange, HP Research labs, France Telecom R&D UK, Ordnance Survey. The Urban Tapestries software platform allows people to author their own virtual annotations of the city, enabling a community’s collective memory to grow organically, allowing ordinary citizens to embed social knowledge in the new wireless landscape of the city. People can add new locations, location content and the ‘threads’ which link individual locations to local contexts, which are accessed via handheld devices such as PDAs and mobile phones.

http://www.mobilebristol.com/flash.html

The Mobile Bristol Centre was a programme investigating how mobile devices and pervasive information technology can be used to enhance the ways in which residents and visitors experience and interact with their physical environment and with each other in urban and public spaces.
Imagine a digital landscape overlaying the physical world. As we walk around this landscape, we can tap into the digital sounds, sights and interactions that are positioned in the landscape and activated by our presence and actions. The digital landscape is formed from a dynamic and overlapping set of mediascapes which are context-sensitive combinations of digital media and interactions created and deployed by various authors. The project has created a toolkit, which provides a digital canvas over the physical landscape onto which digital experiences can be painted and new commercial opportunities can be explored. As people walk through the physical environment, a diverse range of digital media experiences augment the ambiance and bring these spaces alive.

The client software that we are developing for Mobile Bristol is capable of finding, downloading and interpreting the application specifications developed on our authoring tools. It provides a set of built-in capabilities to detect and respond to changes in the sensed environment, to download, cache, render and capture a variety of media types, and to exchange messages with other clients and with services. This led to mscape.

http://proboscis.org.uk/prps/artists/rokeby/nml5.html

NML: Neighbourhood Markup Language by David Rokeby.ccess is possible from any wireless networked portable computing device with a GPS unit.
The user would be able to configure the device to continuously scan the content attached to the immediate vicinity for the presence of annotations, with customizable filters to reduce local data clutter to those of greatest interest to the user. Things already accessed would be marked as read and filtered out as well, unless intentionally called up. As the aim is not to further fragment public space by encouraging people to walk around with faces glued to small LCD screens, audio would be a preferred format for the annotations.

The device would indicate, perhaps through vibration, when data comes into range. On the other hand, a discrete but distinctive audible indicator (the social calls of crickets or frogs?) might be interesting as a signifier of data reception. Having a sound that is not personalizable might result in a positive confusion: “It was not my device, but then what is here that someone else is interested in…” Browsing or searching the entire set of annotations for one’s current position would be possible through a familiar web-style interface.

http://gimodig.fgi.fi/objectives.php

The objective of the GiMoDig project is to develop and test methods for delivering geospatial data to a mobile user by means of real-time data-integration and generalisation. The project aims at the creation of a seamless data service providing access, through a common interface, to the primary topographic geo-databases maintained by the National Mapping Agencies (NMAs) in various countries. A special emphasis will be put on providing appropriately generalised map data to the user depending on a mobile terminal with limited display capabilities.

http://www.futuresonic.com/futuresonic/mobile_connections/index.html

The exhibition explored how mobile and wireless media reconfigure social, cultural and information space? Looking beyond computing in its current form, towards the social and cultural possibilities opened by a new generation of networked, location-aware media. Seeking an art of mobile communications: are there any forms of expression that are intrinsic or unique to mobile and wireless media. It explored how artists are responding to new ways of seeing, sensing and representing: radar, sonar, GPS, WiFi, Bluetooth, cellular, GIS, etc. The exhibition probed new horizons in wireless and mobile media, and looked at the diverse ways in which artists and technical innovators are pushing the limits, and soliciting unexpected or unforeseen results from communication media past and present, from the radio to mobile telephony and wireless LAN. Some are seeking to make visible and audible the signals and transmissions that fill the air around us, exploring the potential of interfaces unfettered by wires and cables for performance or interaction, or the kinds of communication and creative expression that emerge within networks with no fixed centre, but rather multiple, mobile nodes. http://www.mobilebristol.com/cititag.html

CitiTag is a wireless location-based multiplayer game, designed to enhance spontaneous social interaction and novel experiences in city environments by integrating virtual presence with physical. In the first version of CitiTag you roam the city with a GPS- and WiFi-enabled iPaq PocketPC in search for players of the opposite team that you can ‘tag’. You can also get tagged yourself if one of them gets close to you. Then you need to find a friend to free you. Urban space becomes a playground and everyone is a suspect.

http://www.shrinkingcities.com/

In the 21st century, the historically unique epoch of growth that began with industrialization 200 years ago will come to an end. In particular, climate change, dwindling fossil sources of energy, demographic aging, and rationalization in the service industry will lead to new forms of urban shrinking and a marked increase in the number of shrinking cities. To illuminate this, the project Shrinking Cities. Within the next twenty years, the fossil fuels crude oil, natural gas, and coal will reach their maximum production levels, after which they will begin to decline, while global energy demands rise. Mobility and energy supply will become considerably more expensive, which will lead to a change in settlement structures.

http://research.microsoft.com/nec/senseweb/

SenseWeb is a peer produced sensor network that consists of sensors deployed by contributors across the globe. It allows developing sensing applications that use the shared sensing resources and our sensor querying and tasking mechanisms. SensorMap is one such application that mashes up sensor data from SenseWeb on a map interface, and provides interactive tools to selectively query sensors and visualize data, along with authenticated access to manage sensors.

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

City

As mobile phones and computers become more complex, the range of media that affect our experiences of cities has expanded. What makes a city meaningful to us is not just its bricks and mortar, but the texts we read, people we talk to and experiences we have. Maps, conversations and images of a city all influences our activity and enjoyment. City focuses on bridging or blurring the boundaries between these different media. The systems we build mix local interactions and remote collaboration, using ubicomp technology, digital maps, virtual environments and hypermedia.

http://www.pm-air.net/index.php

Air. Participants or “carriers” are able to see pollutant levels in their current locations, as well as simultaneously view measurements from the other AIR devices in the network. An on-board GPS unit and digital compass, combined with a database of known pollution sources such as power plants and heavy industries, allow carriers to see their distance from polluters as well. The AIR devices regularly transmit data to a central database allowing for real time data visualization on this website.

http://www.sensorplanet.org/

SensorPlanet is a Nokia-initiated cooperation, a global research framework, on mobile device-centric large-scale Wireless Sensor Networks. The results of SensorPlanet are 1) a test platform that enables the collection of sensor data on a never seen scale, and 2) a central repository for sharing the collected sensor data for research purposes.

http://www.storymashup.org/

Manhattan Story Mashup is an urban game, taking place on September 23rd 2006 in Manhattan, New York City. During the event, approximately 250 players will move around Manhattan, taking photos which match a given target.

http://research.cens.ucla.edu/projects/2006/Systems/Urban_Sensing/default.htm

Unlike scientific applications, the hardware is not owned and managed by a small number of central authorities. Citizens carry sensors and contribute data voluntarily. A single entity does not pose interesting ‘hypotheses,’ design experiments, force participation. Instead, the process of learning from an urban environment can be organic and decentralized, existing more in the realm of social networking software. However, the power of this network still comes from our ability to verify the context of shared data, to actuate (to filter, identify and respond to events); to aggregate data in space and time; and to allow individuals to coordinate activities.

http://metrosense.cs.dartmouth.edu/metro-projects.html#metrotrack

We are interested in applying the people-centric sensing concept to the problem of detecting and tracking mobile events (e.g., a lost child’s voice, a teenager’s disruptive car stereo). There are a number of challenges in building a mobile event tracking system using people-based mobile sensors. First, mobile sensors need to be tasked before sensing can begin and only those mobile sensors near the target event should be tasked for the system to scale effectively

http://www.urban-atmospheres.net/Jabberwocky/info.htm

Jabberwocky captures a unique, synergistic moment – expanding urban populations, rapid adoption of Bluetooth mobile devices, and widespread influence of wireless technology across our urban landscapes. The United Nations has recently reported that 48 percent of the world’s population current live in urban areas and that this number is expected to exceed the 50 percent mark by 2007, thus marking the first time in history that the world will have more urban residents than rural residents. abberwocky is a free, device independent software that can be installed on your own mobile phone. Jabberwocky uses the industry standard MIDP 2.0 (Mobile Information Device Profile). MIDP 2.0 provides a flexible standard for developing and deploying applications across a wide range of mobile phones and PDAs.

http://www.urban-atmospheres.net/Sashay/index.html

Sashay is a mobile phone application that leverages the fact that every fixed mobile phone cell tower transmits a unique ID that can be read within the phone’s software. As a user moves throughout an urban landscape this “cell ID” changes. Sashay keeps track of the temporal patterns, history, and adjacencies of these cell encounters to help it build a visualization of connected “places”.

http://www.urban-atmospheres.net/Experiments/UrbanScore/index.html

Measuring familiar strangers (bluetooth), friends (bluetooth), distance from “city center” (GPS), air quality (onboard atmospheric sensors), nearby traffic patterns (RSS feeds), etc. a “score” is determined and displayed as a personal steganography visualization. The name comes from steganography which is the art and science of writing hidden messages in such a way that no one apart from the intended recipient knows of the existence of the message.

Stanza presents at Force of Metadata Goldsmiths Symposium

November 21st, 2008

Goldsmiths Media Research Centre and Centre for Cultural Studies
Symposium: Force of Metadata Goldsmiths, University of London
November 29, 2008, 9.30 am – 18.30 pm
Metadata rules the web. Its power goes beyond merely ordering descriptions of data. Metadata administers access, pre-decides preferences, enables surveillance, automates transtextuality, and shapes our experience. As metadata management becomes more and more effective and ubiquitous, it is time to ask: Are we witnessing the birth of a new regime of attention, of media control and media power? What are its chances, constraints and power relations? How does a social imaginary operate with the means and within the limits of metadata management? Can metadata acquire the power to generate content? Is it, indeed, productive itself?

9.30 – 9.45 Welcome: Scott Lash (Goldsmiths)
9.45 – 11.15 Chair: Jennifer Bajorek (Goldsmiths) Bernard Stiegler (Centre Pompidou): The Alternative of Metadata: Automated Voluntary Servitude or Economy of Contribution
11.15 – 11.30 Refreshments
11.30 – 13.00 Chair : Robert Zimmer (Goldsmiths) Götz Bachmann (Goldsmiths): The Power of Metadata Time Yuk Hui (Goldsmiths):  The production of Networks and the Networks of Production Kuan Foo (Bocconi): Innovation, Metadata and Firm Growth

14.30 – 16.30 Chair: Olga Goriunowa (Goldsmiths) Harry Halpin (Edinburgh): Metadata and the Dialectics of Posthumanism

Stanza (Artist, London): The Emergent City. Presenting Data from security tracking, traffic, and environmental monitoring

Lev Manovich (UC San Diego): Information Wants to be ASCII

Rafael Lozano-Hemmer (Artist, Montreal): Antimonuments and Subsculptures

Copyright Image by Stanza

Image shows live data being visualisation using motes ad hoc wireless sensors placed around goldsmiths  college.  From stanza’s project Sensity.

The day before Lev Manovich visited my studio in the Goldsmiths  Digital studios.  I was showing him my research  work, media visualisations,  sonifications , the sensity project, and images from my software that make time-scapes.  We were  meeting because I had asked Lev to write a text / essay on my new work.  The writing  commission on this body of work  (data visualisations and  the emergent cities series)  Helen Sloan of  Scan and The Watershed have agreed to  pay the commission a year earlier and at last I  have found someone I  thought could do it.. ( Not that  Helen was keen)

Voters’ data ‘should not be sold’

July 11th, 2008

The ethical values and economic values of information and personal data is a little side business or tax that will increasingly affect the way people communicate with each other. And it seems the State is already Voters’ data ‘should not be sold’ trying to  profit.

Is anyone asking questions …..who is  going to sell or profit by the answers ….invoices,contracts and profit share schemes should be discussed at the onset.

Would you like sugar in you tea dear, one or two  spoons…….and which  brand.

http://news.bbc.co.uk/1/hi/uk_politics/7500826.stm

The government-commissioned report said allowing voters’ details to be sold to commercial firms sent a “poor message”.

It also said people should have a right to know who firms shared their details with and firms which deliberately broke privacy rules should face large fines.

The government said it agreed measures needed to be taken to increase trust. I am asleep.

From Fixed Assets to open Systems and Media visualisations.

July 1st, 2008

Stanza. Pervasive Media in The City. 2004

From Fixed Assets to open Systems and Media visualisations.

The new-ness of the internet is still a viable claim. The internets ability to draw assets and data to create post modern allegory allows all sorts of media visualisations. The internet presents of a myriad ways to create ephemeral art across cross networks using all sorts of data information and media. The internet provides gateways and access for all, the editing process, mash-ups, authors as editors, as choice makers, as decision makers.

One can create these gateways oneself as artists to allow other access ones information and data create organic, generative ever changing artworks and experiences which is what Stanza does.

The development of Stanza’s work has shifted from asset gathering and media collection as artworks into a new studio space online. In earlier works Stanza used video cameras and sound recorders to gather assets or media to edit and make into artworks, that would be presented in various forms. Mostly edited and then used for distribution as editions or later online or displayed as output as art in an art gallery.

Even in earlier interactive pieces circa 1998 – 2002 Stanza was using assets and remixing re working these assets in system, usually mouse controlled and all displaying some level of user control, and generative visual aspect. IE in these interactive works Stanza is manipulating or allowing the user some control over my content , a remixing of this content.

Stanza Generative software map maker.

Stanza Generative software map maker.

This body of artwork has moved from fixed assets to interactive systems to open generative systems.  In 2002 Stanza started to develop less fixed systems that culled data and media from other sources. These mash-ups or interactive collage systems. ie Subfusion ,  CITYV etc.  In these systems there is no fixed tangible lists of assets (ie the are not databases) they are drawn or harvested via software from spaces.

What is data.  Sensors are affected by changes in the environment and these are the results ie numbers are polled of the sensors which are then interpreted via custom code.

18 764 7504 493 606 195 11 18 764 764 4 518 612 339 203 12 16 778 779 6 515 485 417 196 2 2 764 764 7 482 481 321 291 19 16 778 606 195 11 18 764 764 4 518 612 339 203 12 16 778 779 6 515 485 417 196 2 2 764 764 7 482 481 196 2 2 764 764 7 482 481 321 291 19 1 18 764 7504 493 606 195 11 18 764 764 4 518 612 339 203 12 16 778 779 6 515 485 417 196 2 2 764 764 7 482 481 321 291 19 16 778 606 195 11 18 764 764 4 518 612 339 203 12 16 778 779 6 515 485 417 196 2 2 764 764 7 482 481 196 2 2 764 764 7 482 481 321 291 19 1 18 764 7504 493 606 195 11 18 764 764 4 518 612 339 203 12 16 778 779 6

Stanza: CCTV  Media Visualisation 2005. Large print On Canvas.

Stanza: CCTV Media Visualisation 2005. Large print On Canvas.

Motes technical .Temperature responses for mts 310 series on mica 2

June 3rd, 2008

Stanza:Sensity ...real time city mash ups, merging my online XML feeds from each city and making online visualisations.

The temperature sensors in moteview on four of my motes show -273.15. The rest of the board ie light and sound is working. How do I get the temp working or reset it.

Did you “Reboot” into the new image (slot) that you OTAP’d?

This is required in order for the nodes to start executing new image.

You may choose any of the available slots where you want to store the

new image.

Please refer to the MoteConfig manual for details on OTAP.

http://www.xbow.com/Support/Support_pdf_files/MoteConfig_Users_Manual.pd

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The temperature sensors in moteview on four of my motes show -273.15. The rest of the board ie light and sound is working. How do I get the temp working or reset it.

Response:

—————————————————————

It looks like you are able to query the nodes (i.e. they are running OTAPImage).

Which Motes are you trying to reprogram with the new code?

Which slot have you selected to OTAP?

Please check and make sure that you have at least 2.7V battery voltage on these nodes.

Response:

—————————————————————

Unless you had previously enabled the nodes to be OTAP’d you won’t be able to OTAP with new application.

What I would suggest is to bring the nodes and attach them to the MIB board and then program them using MoteConfig’s Local program tab. You need to chek OTAP enable box if you wish to OTAP them in the future.

—————————————————————

Response

May be I wasn’t clear earlier. You can use both CA and CB boards in

the same network. The main difference is that they use different power

control lines for temperature sensor. To get accurate temperature readings, you should Program the Mote attached to the CA sensor board (without jumper wire) with  “XMTS300CA__.exe and program the Mote attached to the CB  sensor board (with jumper wire) with “XMTS300CB__.exe

Response:

—————————————————————

It is quite likely that you have an MTS310CB board (look for a jumper

wire on the bottom-side of the sensor board).

The MTS310CA uses INT2 for temperature power control where as the CB

version uses PW0. It sounds like you are using CA code on CB hardware (or vice versa) and hence the Temp sensor never gets turned on and returns 0.

If you have CB board, then you need to use CB version of the app.

Question:

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We want the batteries to last longer.

How do we do this?

How long should batteries last without a change….

If they are in low power mode how long will they last.

I know know this is difficult to answer) but how do I get them to last longer.

Also do you have solar panel one can plus in to the motes for power?

Response:

—————————————————————

The high power (HP) version of the apps don’t duty cycle the radio and hence would deplete the battery in few days. The low power (LP) version of the apps draw an average of 330 uA current with MICA2 platform and when used with alkaline AA batteries can easily deliver over 6 months of battery life.

In order to make the batteries in the Kits last long time, you need to use them in XMesh-LP mode.

We do have solar panel implementation in our next generation eKo Pro series products that can deliver battery life of over 5 years.

http://www.xbow.com/Eko/index.aspx

Theory Of Evolution Of Cities Links Science, Fractal Geometry

May 27th, 2008

Theory Of Evolution Of Cities Links Science, Fractal Geometry

All from this link:

http://www.sciencedaily.com/releases/2008/02/080215211940.htm

ScienceDaily (Feb. 21, 2008) — A paper by Professor Michael Batty (UCL CASA) published in ‘Science’ and the video that accompanies this highlights a new way of looking at cities that has emerged during the last 20 years that could revolutionise planning and ultimately benefit city dwellers.

‘The Size, Scale and Shape of Cities’ advocates an integrated approach to the theory of how cities evolve by linking urban economics and transportation behaviour with developments in network science, allometric growth and fractal geometry.

Professor Batty argues that planning’s reliance on the imposition of idealised geometric plans upon cities is rooted in the nineteenth century attitude which viewed cities as chaotic, sprawling and dirty. Instead, he reports research that suggests beneath the apparent chaos, there is a strong order: “Cities are the example par excellence of complex systems: emergent, far from equilibrium, requiring enormous energies to maintain themselves, displaying patterns of inequality spawned through agglomeration and intense competition for space, and saturated flow systems that use capacity in what appear to be barely sustainable but paradoxically resilient networks.”

These geometrical plans, such as Ebenezer Howard’s ‘Garden City of Tomorrow’, propose an ideal city size and structure, which according to Professor Batty, ignores the way in which real cities develop: “Idealised cities are simply too naïve with respect to the workings of the development process, and competition for the use of space that characterises the contemporary city and the degree of diversity and heterogeneity that the most vibrant cities manifest.”

Instead, according to Professor Batty, cities grow through allometry – growth at different rates – resulting in a change of proportion – and this changes the energy balance used to sustain them. “Network science provides a way of linking size to the network forms that enable cities to function in different ways. The impacts of climate change, the quest for better performance, and the seemingly intractable problems of ethnic segregation and deprivation due to failures in job and housing markets can all be informed by a science that links size to scale and shape through information and material and social networks that constitute the essential functioning of cities.”

While Professor Batty is quick to point out that the method of looking at how cities function as complex systems is still in its infancy, he is confident that the past and continuing practice of imposing an idealised geometric system on them won’t resolve current urban ills. “This new science makes us much more aware of the limits of planning. It is likely to lead to a view that as we learn more about the functioning of such complex systems, we will interfere less but in more appropriate ways

stanza_kaleidoscopic_robots

stanza kaleidoscopic robots software 2007

Stanza artwork….2007

Surveillance artworks: experiments with realtime images.

October 22nd, 2007

stanza artist


Stanza artwork: Live CCTV online remixed in real time. 2004

Projects with tangible outcomes for the mobile infrastructures. Using CCTV to create emergent artefacts and new ways of seeing the city. In the UK there is one CCTV camera for every 14 people. If you are in London, you could be caught on camera up to 300 times a day. Westminster City Council in London have come up with a solution – CCTV cameras without wires, which broadcast their pictures back to base using the council’s new wireless network. The advantage a wi-fi network camera is the mobility.

The pilot scheme uses five discreet cameras to monitor people’s comings and goings in Soho Square. Wireless CCTV cameras make it easier for more and more cameras to be installed.

“Within the Soho Square we have a network of wireless LAN bridges providing blanket coverage throughout the square,” said Tim Hearn of Cisco Systems which is providing some of the technology. “Down the narrows streets, Greek Street and Frith Street, we have Wi-Fi pointing down those streets as well so they give us coverage down there.” So that’s a network of wireless LAN devices that we then plug into CCTV cameras, we provide access to mobile workers that will have laptops of mobiles working with them, or maybe some specialist devices. “We’re also linking into noise monitoring devices or other sensors,” he said. Sourced from the BBC website.

The city already has a recorded source of data, cctv is everywhere. Using data from cctv, artists can bring the outside inside. Selected feeds are collected from around the city in real time. These real time images can be fed into software systems where a series of specialised channels rework these images. The channels are always on, and always changing, a constant view of any city or environment evolving around the clock.

I have made a system or art project called ccityv which uses specially created software and technology to randomly engage any camera globally. The system can grab images from any source.

I have to extend this to network cameras in the Bristol area. It is now possible to go further and get everyone in Bristol to tell us where webcams and cctv systems are; we could also set up some of our own. We can then grab all this imagery and edit it rework it and manipulate it inside the software.

Using pdas we can also send users to find the cameras to be recorded and re-engage with the world of surveillance. This system can capture portraits to monitor, and we can use it to tell stories and narrative in the street that can come into the ccityv project. This allows a process to start whereby we can get the outside inside and the inside outside. Data maps can be set up using the mobile Bristol software so that users can find these cameras and put themselves in the pictures. Then when it is updated you would be updated into the archive online. So the public can have all sorts of fun with this. The public can use cameras to make narratives, take portraits, subvert the surveillance process etc.

My system is online and can be engaged with in the everyday use by anyone. Most importantly it is inside the gallery projecting onto display devices. Note this is in real time, it is also online (see urls below); see the date and time stamp on each one. Also if a camera does not load please wait and a new one will be found immediately. Sometimes cameras go offline. The first image to load is a ‘dummy’ image.

Stanza artworks using CCTV

URBAN GENERATION

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

YOU ARE MY SUBJECTS

http://www.stanza.co.uk/i_spy/index.htm

http://www.thecentralcity.co.uk/ccityv/

http://www.stanza.co.uk

stanza cctv artwork

Stanza image of cctv artwork.

The results are like an online realtime vj system mixing CCTV  images from around the worlds in real time.

bristolglobe

Cloud of data in Bristol. 2003. Live data responsive system