Posts Tagged ‘displays’

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

May 3rd, 2014
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

 

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

August 8th, 2013

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

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

August 8th, 2013

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

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Three Upcoming Exhibitions By British artist Stanza

March 14th, 2013

Three Upcoming Exhibitions By British artist Stanza

FALMOUTH Tremough Campus, Penryn, Cornwall, TR10 9EZ

Exhibition dates: 13th – 24th May 2013

Presenting Two Works:

A World of New Possibilities

The Singing Trees of Tremough

Stanza

This is a real time singing tree made from data in the and around the tree in situ in real time.

The signing Tree is made using data collected from the environment  using loads of motes sensors I have customised. And a new suite of software V2 has been made that helps the tree sing. The tree becomes virtual, dynamic, and encoded. The artwork disloses the underlying data that we see thats is changing all the time in front of us.

I am making a custom made speakers system all wireless to run off solar power with back – up batteries for the new version of the Tree sonification which uses real time environmental data.

 

Wyspa Institute of Art and Alternativa International Visual Arts Festival. Gdansk, Poland
May 24 until October 16th.

Presenting:-
Urban Generation; trying to imagine the world from everyone else’s perspective, all at once.  Urban Generation explores the emotional state of the metropolis and considers a world of universal surveillance. The artwork collects live CCTV feeds from 300 cameras in London in real time and reworks these video streams into multi-layered visual structures. The channels are always on, and therefore, the work is always changing – it depicts a constant and evolving view of the urban landscape and its inhabitants. This hasnt been shown for a while and the software has been checked and now uses more than 300 cameras around the city in real time. Awesome. Realy looking forward to  my first exhbition in Poland.
http://www.stanza.co.uk/urban_tapestry/index.html

 

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WATERMANS. 40 High Street, Brentford, West London, TW8 0DS

Opens 31 st May Close show 26 th July

Presenting:- I am excited about showing this in London for the first time. A new version of. “A Life In The Emergent City” which captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. Capacities goes beyond simple single user interaction to monitor and survey in real time the whole city and entirely represent the complexities of the real time city as a shifting morphing and complex system. This version is bigger better and promises to be a little bit different.

stanza_artist-007

 

 

 

 

 

 

 

 

 

 

 

 

 

What you see is a sculpture which represents the emergent properties of the environment where the sensor network is situated.

Also on show will be several other new hyrid “involvement”s which will be presented during the exhbition.

stanza artist capacities

 

 

 

 

 

 

 

 

 

 

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

 

 

 

 

Stanza Vida Retrospective Madrid. The Central City Exhibition

April 13th, 2012

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

The installation includes these titles.

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

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

The Centrtal City for Madrid Vida

The Central City for Madrid Vida

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

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

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

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

Biocities.

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

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

Codified

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

Beautiful Maps

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

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

Stanza Towers 2004 from Diversity

Stanza Towers 2004 from Diversity

FROM THE CENTRAL CITY AND INNER CITY TO THE EMERGENT CITY

The ‘central city’ has become an amalgamation of images from art, architecture, design and urbanism. The city has moved from metropolis to megalopolis to the ecumenopolis. The city is everywhere, with lifeless design spreading upwards and forming a conundrum of physical objects in space.  Cities become “insect colonies”, spreading upwards with giant towers looming over vacant lots, and empty spaces.

The form and content of this work is a visual world of the city and its structure. A visual labyrinth, a maze of circumstance. The city itself is always changing; it is always in flux. A visual labyrinth, a maze of circumstance. The city itself is always changing; it is always in flux. Each aspect of city life seems to demonstrate specific characteristics, which can be developed into individual parts of the labyrinth, making up the images that will be used.  A city experience consists of small unit blocks and cells which inter-relate and lock together to form the composite city identity.

 

The online spaces are for dreaming, thinking, meditating and transience.

City Sounds

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

Stanza

www.stanza.co.uk

Exhibition Information. This project has also been exhibited at.

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

Stanza The Central City Installation

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

September 1st, 2011

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

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

This was a great fun event.

Stanza at Gogbot Festival Enshcede Holland

Stanza at Gogbot Festival Enshcede Holland

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

The whole gallery space becomes one large artwork made from real time city information and data. The aesthetic and feel of the space looks like an electronic city. The city is made of units, grids, repetition , building blocks. In the gallery city called ‘Capacities’ the leads, the wires,and cables are incorporated into the artwork to look like a city map.’ Capacities’ looks “designed” like a piece of urban design, a city surveyed and controlled. The whole space becomes a map to wander through.

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

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

stanza artworks

 

THE ARTISTS STUDIO AS LABORATORY

August 2nd, 2010

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

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

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

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

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

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

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

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

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

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

  • Sonicity
  • Capacities
  • Open Studio: Transparency

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

RESPONSIVE ARCHITECURE FACADE – DATACITIES

June 18th, 2010
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Stanza . Responsive architecture. 2010. AOF Facade Norway.

This proposal has won the Nova Folkets Hus facade international juried competition and is now in development. The facade becomes a live dynamic interface, an artwork that changes its behavior as a result of the changing condition in the environment. This works by sensing the city and the environment to make art. The results become representations of the real time spaces and environment of Trondheim.

Environmental data is collected across the urban and environment infrastructure to make the artwork; using custom made sensors in the building and around the city. (30 custom environmental sensors units measure, light, noise, sound, humidity, and temperature). This data is turned into a online real time visualization of the space. The sensors interpret the micro-data of the interactive city. The output from the sensors display the real time environmental and emotional state of the city online in real time and the information will be used on the façade and online interface to control it.

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

Stanza Live City Data

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

“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.

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

Interactive LEDS…say something please.

February 22nd, 2009

Sometimes I get all excited about leds, responsive architecture and sometimes I just think where is the depth of thinking in the current crop of publicly funded artworks. Maybe architecture need to shout and scream to be heard, maybe we need to re-discover the hidden parts of the city….. but, this isn’t art….it something else….

In an age of environmental and economic uncertainty, why is it there is just so many flashing eye candy architectural projects. We have Lab AU, Jason Bruges, Cinomod Studios, United Visual Artists…even Soda…..come on guys say something real about the world with some cultural relevance; or say anything beyond; hey it a playspace and you can control the lights by moving about……I  think Martin Creed did this one the best already)…

Parting shot: Graffiti is better in an underpass than this sort of thing….http://dobpler.com./images/front.jpg. The work appears seductive, technology does that all by itself, but where is the depth in this work. But maybe it will make the kids put the spray cans away….so it pleases the funding bodies. I personally hope its ‘sorted’ out at street level within the week.

I like the sentence about no “intrusive surveillance” involved (from  their website) , maybe thats fence sitting Scandinavian speak to get the commission in the bag, but if your going down this route don’t be afraid to ask the questions.

How to  make more than just flashing lights. The image below shows a proposal to use the CCTV images inside the building on the outside of the building. Presented to Colston Hall 2005.

Copyright Image by Stanza CCTV feeds 2005.

Stanza artwork, a proposal to use the CCTV images inside the building on the outside of the building. Presented to Colston Hall 2005.

Image above copyright Stanza. Live data tracked from CCTV system.

“Gallery” by Stanza, is a dynamic public sculpture viewable over the internet.

May 28th, 2008

stanza Image

"Gallery” by Stanza, is a dynamic public sculpture viewable over the internet.

“Gallery” by Stanza, is a dynamic public sculpture viewable over the internet. Gallery describes the space, in this case the upper gallery in Plymouth Arts Centre, England. Made during an artist in residency project in situ in the gallery space during feb 2008.

The gallery interior has been made virtual and placed online. “Gallery”, is part of a series of process led experiments in data visualization within the context on an art gallery. This is an experimental engagement with data in the art gallery using sensors and CCTV. Stanza asks , “what happens during the process of visiting the gallery as a dataspace”; ie what happens to the gallery and what do the visitor do?

The sensors are used as real time recording devices to gather information about the sensory behaviour of the real space. The gallery becomes the artwork formed by the emergent real time data in the space.
The gallery laid bare as a work of art. Gallery proposes that the data is art. The art is a real time flow of the things around us that allow our senses to invoke understanding. The gallery space becomes the art described by the shifts in light, temperature and noises in the space over time.

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

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

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stanza kaleidoscopic robots software 2007

Stanza artwork….2007

THE CENTRAL CITY NET ART PROJECT STANZA 1997

January 10th, 2008

THE CENTRAL CITY  website consists of over a dozen projects which have been in development since version one went online in 1997.

UK artist Stanza wins VIDA 6.0, 2003

www.thecentralcity.co.uk

THE INTERACTIVE CITY.

 The city allows you to experience different artwork depending on how you choose to navigate. There are also random ways to experience this. As well as this non linearity, some of the pieces change over time. Evolving pieces exist, that the “user” has to control to make them work, the user also can input changes of sound and picture.

This change in the relationship between the audience and the artist could be said to change our perception of the artwork. I am evolving a situation where the audience may not only participate but also by giving them some control, contribute to the form and content. The work is exploring this changing relationship between the audience and artist. The user makes the decision to change sounds and pictures, where to go, what to see, what to hear. This can be done by movements within the grid. This change in the relationship between the audience and the artist changes our relationship to the artwork. The user can choose what they experience, synthesising converging media, systems, and phenomena in the process

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