Posts Tagged ‘society’

Exhibition in Canada at New Media Gallery Vancouver.

October 15th, 2016
Surveillance based artworkThe Agency at the End of CIvilization

A sprawling collection of daisy-chained monitors, watchful orbs and speakers give voice to circulating, machinic narratives. The Agency at the End of Civilization, by British artist Stanza, presents a parallel future-present that combines real-time data with false narratives. In this world we are under constant surveillance; we are watched in precise detail, our movements are interpreted by machines. Yet the interpretation of what we are seeing and hearing becomes increasingly uncertain. The work links real video and information from hundreds of CCTV cameras in the south of England . Aligned to this are millions of car number plates from the UK car number plate recognition system (The Internet of Cars Project). Using predictive software the machine collects what it is seeing in real time, then begins to insert false narratives to create its own version of reality. The work speaks to our control of public space and our trust in technology.

 

WITNESS

Originally the word Witness meant knowledge, in the sense that you must see, observe or know by personal presence. Over time it became understood as a means of establishing identity and thus the notion of the eye-witness was established: one who testifies to what they have perceived through their senses; tasting, touching, hearing…and seeing. The seeing, witnessing machine, is something that has been imagined and alluded to for centuries. This exhibition contemplates the seeing machine.

Surveillance based artwork

There are five works of art in this exhibition. Each sets up an interplay between the perceiving machine, the world that is perceived by the machine and we, who are both perceiving + perceived bodies. A symbiotic relationship is formed between organic and non-organic systems. There are many ways of seeing. One process of controlled watching is surveillance; a monitoring of behavior for the purposes of influence, discipline, protection or control. It has been said that surveillance is as old as civilization itself. In this exhibition we encounter deeply coded, multi-layered processes of seeing, recognition and surveillance.

Machine vision can often outperform humans. Like humans, machines can distinguish light from dark. They form visual images. They understand their surroundings and have knowledge of the world. They follow our movements, predict our behavior, captivate us and bond with us. Perhaps more importantly we bond and enable them. This exhibition allows us to imagine futures and recall why sight developed.

Surveillance based artwork

Hacking Habitat In Utrecht

March 3rd, 2016

Curated by Ine Gevers, Hacking Habitat witnesses  “the rise of a ‘remote control society’ colonizing and infiltrating increasing realms of daily life for the sake of safety and risk- management. Monitoring cameras and smart gateways are installed everywhere, while we are classified and atomized by automatic face recognition. Software and algorithms define who deviates or contributes too little to our economy. ”

Featuring Joseph Beuys (DE), Melanie Bonajo (NL), James Bridle (UK), Felix Burger (DE), Centre for Political Beauty (DE), Johan Grimonprez (BE), Susan Hiller (USA), Samson Kambalu (MW), William Kentridge (SA), Laura Kurgan (USA), Cristina Lucas (ESP), Metahaven (NL), Pedro Reyes (MX),  Stanza (UK), Timo Arnall (NO),  and many others.

 

Stanza_book

 

 

 

 

 

 

 

 

 

 

 

 

The Nemesis Machine is a miniature city, made up of wires, chips, computer parts, switches and specially designed electronics. The installation shows the current data flow of Smart City London, complete with environmental sensors and surveillance cameras, as well as data from traffic information and environmental monitoring systems. The work responds to the temperature, light, pressure and sound of the simulated city. If something changes in London, it’s registered directly in motion, sound and light in the miniature city of Utrecht. The Nemesis Machine is like the avatar of London and is not only driven by the real city, it is entirely dependent on it.15-STANZA-0414b-mj9m0abah8kt7ms5qmn5wpy6cqlj20tpijnm1zlokg

The Nemesis Machine is een miniatuurstad, opgebouwd uit kabels, chips, computeronderdelen, schakelaars en speciaal ontworpen elektronica. De installatie toont de actuele dataflow van Smart City Londen, gemeten met omgevingssensoren, bewakingscamera´s, verkeersinformatie- en milieumonitoringsystemen. Het werk reageert op o.a. temperatuur, licht, luchtdruk en geluid van de nagebootste stad. Als iets wijzigt in Londen, zie je dat direct terug in beweging, geluid en licht in de miniatuurstad in Utrecht. Nemesis Machine is als het ware de avatar van Londen en wordt niet alleen real time bestuurd door de echte stad, maar is er volledig van afhankelijk.

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Exhibition Titled. Herd Above The Noise. Installation of city sounds on 170 speakers

September 9th, 2015

Soundcities – Herd Above The Noise. Installation of city sounds on 170 speakers.

The installation can play thousands of sounds from around the world and is arranged like a map of the city the artwork is installed in. What you see and experience is a map of wires and cables including over 170 speakers, a custom made amplifier that are all used to make the installation. The installation can be changed to just focus on any given city ie London , Paris, Rome or the whole world. The installation features the use of soundcities.com database and live feeds with a new software system. The system works in auto mode if no one uses it or can users can interact and choose the sounds that get played on the speakers. (Its both interactive and generative)

Soundcities was the first online open source database of city sounds and soundmaps from around the world, using found sounds and field recording. The concept started in 1995 with various interactions. Stanza’s soundmaps have been online since 2000 and the Soundcities database since 2004.

French Text:

Le projet d’installation Soundcities s’inscrit dans le prolongement de la base de données interactive éponyme initiée par Stanza en 1995, pour apparaître sur le web en 2004 dans sa version actuelle, renouvelée en permanence. http://www.soundcities.com/ est la première base de données en open source rassemblant les sons des villes grâce à des captations sur le terrain, à des compilations de sources existantes, et ouverte aux contributions en ligne.

Soundcities By Stanza

Stanza Paintings

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

May 6th, 2014
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

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

September 4th, 2013

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

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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“Data as Culture” artwork made for the Open Data Institute (ODI).

November 30th, 2012

Stanza dtata artworkI have just been commissioned and unveiled my artwork  made for the  Open Data Institute (ODI), and curated by Julie Freeman .  The work  is part  of “Data as Culture”…. “As data becomes more accessible to artists, as it opens up for use as a raw material, we are seeing more of its integration into works that explore environmental socio-political and economic aspects of society.

By utilising data in an experiential way, this selection of works pulls data out of the virtual domain and into our physical world. The exhibition provokes discussion around what open data is, how it informs and affects us, and how we interpret it in a way that is meaningful.”

Body 01000010011011110110010001111001 (2012) By Stanza. Body is a sculpture which responds to the emergent properties of the environment in South London where the artist’s wireless sensor network is situated. 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.

also see

www.stanza.co.uk/body/index.html

 

 

 

 

 

 

 

 

 

 

 

 

 

Stanza exhibits city wide data installation Verenigd Koninkrijk, Capacities. Update_4. Gent.

September 24th, 2012

Welkom op de website van de New Technological Art Award 2012, een internationale kunstwedstrijd van de Stichting Liedts-Meesen die deel uitmaakt van onze biënnale Update. Kom kijken naar het werk van de genomineerden van 22 september tot en met 18 november 2012.

Stanza, Verenigd Koninkrijk, Capacities

Locaties:
Zebrastraat – Zebrastraat 32/001 – 9000 Gent – Belgium – www.zebrastraat.be

New Technological Art Award 2012, een internationale kunstwedstrijd van de Stichting Liedts-Meesen In 2012 organiseert de Stichting Liedts-Meesen Update_4 in het kader van het project Zebrastraat en in navolging van de eerste drie Update-biënnales.

In Update_4 wordt de filosofie van de vorige edities behouden maar leggen we nieuwe accenten. In het verleden gingen de tentoonstellingen gepaard met de New Technological Art Award Liedts-Meesen die meer en meer op de belangstelling van de kunstenaars en het publiek kon rekenen. Onze focus ligt nu op de presentatie van deelnemers van de wedstrijd NTAA en bestaat uit:

-een grotere bijdrage van nieuwe technologieën in de kunst
-een verhoging van het aantal genomineerden van 10 naar 20
-een presentatie van één naar drie locaties in België : de Zebrastraat in Gent, La Cambre en iMAL in Brussel

Uit de meer dan 300 inzendingen waarvan 20 kunstwerken geselecteerd werden, vallen een aantal typerende thema’s te traceren. Ondanks het feit dat onze dagelijkse perceptie in een grote mate gedomineerd wordt door virtuele werelden en onder invloed staat van de eigentijdse technologie, kunnen verschillende werken onder het landschappelijk genre gecategoriseerd worden. Opvallend is evenwel de verwerking van diverse parameters die het kunstwerk via een technische transfer veranderlijk en de beleving ervan multisensorisch maakt. Mapping betekent in deze context niet zozeer een cartografische variant, maar includeert eveneens het flaneren, cruisen of dwalen. In een gegeven geografie vertaalt zich dit vaak in een (mechanische) choreografie waarin parameters als licht en geluid expressief gemanipuleerd worden. De luciditeit in een aantal werken kent een tegengewicht in de reflectie over eindigheid, dood en in een enkel geval opent dit zich cynisch en hyperbolisch tot het contemporaine euthanasiedebat. Items als identiteit en communicatie vormen een belangrijk inhoudelijk substraat waarin gegevens als sociale netwerken, privacy, hacking, spam verwerkt worden. De interactiviteit bij vele inzendingen doet een beroep op een actieve toeschouwer die zich vaak geconfronteerd ziet met keuzemogelijkheden of beslissingen die men dient te nemen.

Stanza artwork Capacities

 

Complex-cities. Art, mapping, within the new digitised city space. Some links for interested parties

September 3rd, 2012

The Nememis Machine By StanzaComplex-cities. Under the new digitised city space from artists walks to virtual cities.

Around the 1900 century the city became the focal point for an intense debate about the dynamics of technological civilization and its effects on the quality of human life. The Futurist manifesto of 1909 identified the city as the pre eminent theme of modern poetry and painting.

Ezra Pound pointed out in his comments on Eliot’s The Waste Land: “ the life of the village is narrative…..In a city the visual impressions succeed one another, overlap, overcross, they are cinematographic”.

The city ceases to be pictured as a social environment and it is transposed on to an existential plane. The metropolis ultimately becomes a metaphor – a dynamic configuration of the confiding hopes and fears of the twentieth century.

Writing played a huge part in the metaphorical and poetic interpretation of world cities. But it is through cinema that we can appreciate the scale, pace movement and patterns that where emerging in the modernist city.

The imagined city is constructed in Fritz Lang’s Metropolis (1926). It is an imagined city, a city of the future a city that is seen time and time again in modern science fiction films like The Fifth Element.

Lang referred to The Tower of Babel, the massive control tower in Metropolis is called “The New Tower Of Babel. The comparison to Babylon within the city has become common in metaphorical language of the city ever since cities really became too large for easy assimilation. Lang’s city thus becomes a city of “idea”.

 

The flanuer.

While Baudelaire characterized the flâneur as a “gentleman stroller of city streets”, he saw the flâneur as having a key role in understanding, participating in and portraying the city. A flâneur thus played a double role in city life and in theory, that is, while remaining a detached observer.

This stance, simultaneously part of and apart from, combines sociological, anthropological, literary and historical notions of the relationship between the individual and the greater populace.

This term refers to a person who plays a sensor role in understanding the urban environment.

Any pedestrian environment that accommodates leisurely exploration of city streets. Walter Benjamin adopted the concept of the urban observer both as an analytical tool and as a lifestyle….. making social and aesthetic observations during long walks.

The wrap it seems, is the collections of observations about the cityspace. These can be made into histories and documented, sights and sounds, experiences of the city.

The flaneur is a suitable metaphoric vehicle for the ‘witnessing’ of this space because ‘the flaneur moves through space and among the people with a viscosity that both enables and priviledges vision.’

Being a product of modernity, he was a spectator of modern life in the urban sprawl; now a product of post-modernity, the cyborg-flaneur is an androgynous spectator of virtual spaces.

A person’s whose aim is to disappear in the spaces of the city – ‘a prince who is everywhere in possession of his incognito’ – is the person who has the best view of the basic nature of cyberspace, a space where anonymonity is maintained by a process of vaporisation upon departure.

The flaneur is also an ‘image of movement through the social space of modernity’ – an explorer who finds their identity among the realizations of the city. The cyber-flaneur’s exploration of virtual spaces is achieved through their natural propensity for movement; they wander anonymously within the boundaries of virtual space, developing a virtual identity while connected.”

The SituationistCity.

A precursor of flash mobs, CCTV performances, interactions with GPS and networked performance the Situationists existed to politicize the urban domain.

The networked internet and virtual city space allows the movement of sources and codes that can be re mashed, played with to be “re-routed”.

By cutting up maps of the city Guy Debord and Asger Jorn where re coding city space, creating new patterns and urban forms. Or see Constant’s, “North New Babylon”, watercolour on collage. It is a single continuous organic structure spreading to the edges across the landscape. Unit blocks are repeating in an organic web like structure. The most famous of these images was “The Naked City”, criticises traditional mapping and at the same time investigates the relationship between various urban elements by re- assembling the map of Paris.

“Situationists promised that their architecture would one day revolutionise everyday life and release the ordinary citizen into a world of experiment, anarchy and play.” Simon Sadler.

The HP media platform for mobile computing the city based games using GPS tracking all continue this theme of playing in city space.

Simon Sadler, draws a comparison between Jackson Pollock’s Autumn Rhythm (1950) an  (p87  The Situationsit City) abstract expressionist painting, and the webs traced by both Paris metro and London railways maps. Debord insisted that interest was because of the content however the aesthetic comparison cannot be ignored.

Future Cities

Future cities will be merged into real time connected up data cities connection of networks of real time information flows.

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.

The key to a multi/plicities project is the nature and openess of the gateways so that its acts without borders.

One has to experiment with the technology and understand how to get under the bonnet, and then new  outcomes will shed light on how data flows overlap in live streams demonstrating what are the possibilities for novel artistic experiences and outputs as well as new business models which will benefit from sonifications, visualizations, and sculptural objects; as well as apps, and feedback into other networks and intergrated systems.

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 space and to speculate where these technologies could lead us in the future.

 

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.

There fore can one build an open ended platform  where the content too can be mashed up , intergrated into  non linear streams, re- assembled, used by other artists, curators, via tag  or XML streams.

(NB: I don’t like the term open source or but my work endeavours to collapse the borders created by networks so there is a free flow and exchange through the system both for input and outputs of ideas and latterly resources which I call assets (the data and the information.)

The examples below are experiments around the world in this field of location based devices maps and artworks that all have varying objectives. They mostly I believe have developed without speculating on future content delivery  scenarios.

From a recent essay with my work (Issues In Science And Technology, Spring 2012.) … “the more people online contributing ideas,  the more valuable the network becomes to all the other users”…Hillary Rodman Clinton

So the objective is to  maker a platform that  makes it easy to  contribubute from the first instancee whose structure or front might be re/ assembled depending on the flow / need/ content narrative)

Interesting links.

http://www.bbc.co.uk/news/world-europe-19267930

“It’s a good way to tell the story of a person. And we all have a story. Both the farmer, the director, they all have a story. And also it makes a visit to the graveyard much more interesting.”

http://www.notours.org/audioguides

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NoTours proposes an augmented aurality experience. In other words, you can add a new layer of reality to your place. You can leave messages, tell stories, create geolocated concerts or just share your thoughts. The team of noTours.org is looking forward to know your ideas and your possible uses. In fact we are artists and developers. Take a look at some of the sound walks we have made in the world. Some companies and individuals have already asked us about creating their own customized walks. They offer you the possibility of having your own app with your logos
http://code.google.com/p/timemap/

Timemap.js is a Javascript library to help use online maps, including Google, OpenLayers, and Bing, with a SIMILE timeline. The library allows you to load one or more datasets in JSON, KML, or GeoRSS onto both a map and a timeline simultaneously. By default, only items in the visible range of the timeline are displayed on the map.

http://www.soundcities.com/

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Stanza sound maps, softwares, performances and installations around the of many cities, big investigation around the city soundscape. he interesting thing now is the project is opened up for others allowing a re mixing or mash up. It allows these “others” to do with the “material” other things for example concerts and art installations. Using the XML feed other applications are created ie phone apps merged with you PS position or visualisation of noise across a space…all sorts of things are possible.

Regeneration squares

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

Re-animating and remapping the city. This project involves making new public squares in the city to make a regeneration of the city. Here area selection of these new squares in Liverpool. In addition I invite the public to find these squares and present situations to intervene and to regenerate these new public spaces.

http://www.huellasolar.com/

Solar-imprint cities (Huellasolar ciudades) is a project for mapping urban solar exposure. This mapping is dynamically configurable by the user to study the incidence of the sun at any time of year in various cities in Spain.

http://www.sonicwonders.org/

This a travel guide to our Sound World – listing places where what you hear is an important part of the experience. Increasingly, people are going to capture the World’s sonic wonders, whether deliberately by recording what they hear on a mobile phone, or almost by accident, as the soundtrack on a video recording. A sort of travel the world listening to  sounds guide.

http://voiceofkibera.org/

Voice of Kibera aims to give collective global voice to Kibera residents by aggregating local citizen reports, Kibera community media and other relevant news and information.

http://birdmap.5dvision.ee/index.php?lang=en#

At this url you can  track on a “migration map” some birds travelling between Europe and Africa.

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

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.beatrizdacosta.net/pigeonblog.php

Art project Pigeonblog was a collaborative endeavour between homing pigeons, artists, engineers and pigeon fanciers engaged in a grassroots scientific data gathering initiative designed …. How could animals help us in raising awareness to social injustice?

http://www.christinakubisch.de/english/install_induktion.htm

“Electrical walks”, is an invitation to a very special kind of stroll in cities (or elsewhere) With a special magnetic headphone and a map of the environs, upon which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electrical fields; what is accustomed appears in a different context. Nothing looks the way it sounds. And nothing sounds the way it looks.

 

http://www.conormcgarrigle.com/writing_the_city.htm

Writing the city was a GPS drawing walk intervention which took place in Dublin in collaboration with Tactic. The walk with a handheld GPS to a preplanned route used the tracklog to write a giant word in a single movement onto Dublin.

http://www.walkingthroughtime.co.uk/

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Walking Through Time is a mobile application that allows smart phone users with built-in GPS to not only find themselves in the present, but find themselves in the past. By making available historical UK maps, users will be able to scroll through time and navigate places using maps that are hundreds of years old. This new iPhone app brings this imagination to reality. Just head out for a walk, set the app to play, and let the story of the birth of the solar system and the evolution of life unfold under your feet.

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,

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://www.savetheelephants.org/tracking.html

Save the Elephants uses Google Earth to visualize our elephant tracking data from across Africa. Google Earth is the rich mapping application that will allow you to fly through a global database of Earth imagery and detailed mapping information.
http://www.atmosphereindustries.com/gentrification/

A transmedia game, which uses mobile technology to facilitate and augment offline gameplay. It has been presented at game and culture festivals around the world to critical acclaim. Small teams compete to collect real-world properties, “convert” them, and transform the neighbourhood. As developers, they’ll build swanky lofts, erect coffee shops, and raise property values

http://realtime.waag.org/

GPS trace maps built into flash all online.

http://homepage.ntlworld.com/keir.clarke/web/thereandthen.htm

*** Check This

Historical movies on Google Streetview  (Looks Like a screenshot of streeview)

http://maps.google.com/maps/ms?ie=UTF&msa=0&msid=209536004200975525899.0004af02bf59e643ac521

Geolocate the painted tags in the mountains of Lima:

http://www.google.com/mars/  Google Mars is a great tool but when shall we geolocate our own information on Mars and the other planets in our solar system ?…that is the question.
Streetmuseum™ Londinium directs you to locations across the capital where you can immerse yourself in the sights and sounds of Roman London. As you’re guided around the city you’ll unearth exquisite artefacts as if discovering them for the first time and reveal the stories of life in Londinium (OFFLINE)

http://www.boxofficequant.com/100-years-of-set-locations/full_screen.htm

This map, showing 2100 movies locations is a great resource for people who want to geolocate the scenes of the movies in a “Walking Cinema” spirit. It could be a great starting point fo a mobile phone app.
http://www.paintyourstreet.com/

On the website “Paint Your Street” Google Maps mashup you can write words over the Street Maps view ! Nice idea ( full of script errors)

http://glowapp.com/

***Glow is the mobile app that tells people how you are doing and where you are doing it. Download Glow and discover how people around the world are feeling right now! (Use the map view to reveal areas near you where people are feeling good. We use color to show you how people are feeling as a group. Blue is “awesome” and red is, well…”not so awesome”.)

http://www.markermusic.com/

Interesting use of Google Maps for mixing locative audio recordings. “you can click and hold on the map to move it around, and use the YouTube volume controls to change the mix” :

http://sounds.bl.uk/uksoundmap/fusionmap.aspx

UK Sound Map is a online “soundscape” project from the British Library Board and the “Noise Futures” network. Welcome to our interactive map showing 1675 soundscape recordings contributed so far by members of the public: (now closed)

http://whatwasthere.com/ What Was There is A great project with Google Maps to travel in time…visit the site and test the iphone app !

http://urbansonar.com/

Urban Sonar is a personal space monitoring system that senses an individual’s experience as they move through the urban environment and records that information for review at a later time. Turning the gaze both outward and inward, negative

space surrounding the individual and their heart rate are used to visualize a lived experience through quantitative data.The visualization program was writting in Processing.
http://pixelsix.net/wanderer-gps-game/

Keep Walking! from Jonas Hansen. The object of the GPS game Wanderer is to be in continuous motion and to follow auditive commands given by the game system. Because the game is not mapped onto the coordinates of the physical space, it can be played in any location. The player is continuously con fronted with the objects in public space functioning as game obstacles. In this way the game trans­forms the meaning of the

http://www.thehiddenpark.com/

It seems to be a geolocated game for children but it is really more than this. This app and the editing tool is full of great ideas, mixind reality with animations. Let’s hack The Hidden Park for some activists purposes 😉

http://imapflickr.com/default.aspx

Create custom Google Maps from your geotagged Flickr Photos to embed in your website or blog, or for sending to Facebook, Twitter or your favourite website.

 

Walking.

http://walkart.wordpress.com/

A virtual tour of Stuttgart and London

August 6, 2012 by Ana Laura

A walk with Amy’ functions as an urban drift, in which each participant is simultaneously a spectator and traveling companion, tourist and tour operator. The intimacy of an unknown voice can lead to unexpected insights and connections, noticing details we might have overseen, as we share cities across a remote landscape. ‘A walk with Amy’ asks what is worthy of attention – without road names or landmarks, what will function as signposts and how will we make our choices?

New Artworks involved with walking

http://walkart.wordpress.com/artworks/

Misc

http://www.museumoflondon.org.uk/London-Wall/Whats-on/Exhibitions-Displays/LomoWall.htm

The Museum of London has collaborated with Lomography – the vibrant community dedicated to analogue photography – to create an eye-catching LomoWall display.

 

Books

http://www.rodopi.nl/senj.asp?BookId=ATC+5

The convergence of mobile technologies and ubiquitous computing is creating a world where information-rich environments may be mapped directly onto urban topologies. This book tracks the history and genesis of locative and wearable media and the ground-breaking work of pioneer artists in the field. It examines changing concepts of space and place for a wide range of traditional disciplines ranging from Anthropology, Sociology, Fine Art and Architecture to Cultural and Media Studies, Fashion and Graphic design.

 

Cities. Visualisation Environment

http://flowingcity.com/

http://villevivante.ch/

The City of Geneva decided to take the challenge to visualize these digital traces created by our mobile phones. The objective of this installation is to make this data visible and allow you to explore these streams of connected people around the city, in their everyday life. A particle flow-field inspired map provides a view of the ‘liveliness’ of the people using their cell phone as they move about, as the activities and directions are embodied by the density of lines shown on the map.

http://stamen.com/clients/mysociety

Interactive maps of travel time and housing prices in London. an NGO which builds websites that give people simple, tangible benefits in the civic and community aspects of their lives, came to Stamen with a remit to explore two fascinating datasets: median prices of homes throughout London, and the time it takes to travel from one place to another throughout the city.

http://www.emotionmap.net/map.htm

The Bio Mapping device was invented by the artist Christian Nold. It combines a finger cuff sensor, which records the wearer’s Galvanic Skin Response (GSR) – an index of emotional response – in conjunction with a Global Positioning System (GPS) which locates the wearer’s position on earth. The finger cuff sensor was derived from the Polygraph, where it is used by law enforcement agencies to identify the physiological symptoms of stress induced by lying. Bio Mapping uses this technology very differently.

http://research.microsoft.com/en-us/projects/urbancomputing/

Urban Computing With the rapid progress of urbanization and civilization on earth, urban computing is emerging as a concept where every sensor, device, person, vehicle, building, and street in the urban areas can be used as a component to probe city dynamics to further enable city-wide computing for serving people and their cities. Urban computing aims to enhance both human life and urban environment smartly through a recurrent process of sensing, mining, understanding, and improving.

http://casualdata.com/senseofpatterns/

Sense of Patterns is an on-going project, a series of printed data visualizations aiming to depict the behaviors of masses in different public spaces. The visualizations have a focus on the patterns of moving entities in public like commuters, cars and public transportation vehicles as well as the interaction between these entities and physical structures like roads, sidewalks, buildings and parks. The project intends to provide strong visuals on what we all experience in our daily lives in different cities.

http://www.techcitymap.com/index.html#/

Tech City Map is a constantly-evolving compendium of East London’s vibrant technology and creative ecosystem. In addition to showing where businesses are located Tech City Map uses advanced technology from Trampoline Systems to reveal the web of connections linking them together and calculate each company’s influence in the community.

https://geoloqi.com/blog/2012/03/data-portraits-powered-by-3-5-years-of-data-and-2-5-million-gps-points/

These are images of map generated entirely from GPS logs gathered by various versions of the Geoloqi sample application for iPhone and Android for the past 3.5 years. Once gathered, the data was run through a custom script that projects the GPS logs onto a 2D image plane. There is a little bit of logic to smooth out the lines and remove some (but not all) GPS noise.

Other

mobilebristol (now offline)

Founded by Hewlett Packard Laboratories, the University of Bristol and the Appliance Studio, Mobile Bristol’s programme of research ran from 2002-2005. It investigated how pervasive technology could be used to enhance how residents and visitors experience and interact with their physical environment and each other in urban and public spaces.

Cityware with Imperial

Sensity by Stanza

Sensible cities MIT

London AA

Dog attention Over 115,000,000 views

 

Stanza 2012

 

 

 

 

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

May 31st, 2012

 

Abstract.

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

By Maria Chatzichristodoulou [aka Maria X]

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

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

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

full essay over at MIT  press

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

 

 

 

Stanza: Can we use new technologies to imagine a world where we are liberated and empowered. An interview between Stanza and Rob van Kranenburg of the Internet Of Things

May 3rd, 2012

An interview between Stanza and Rob van Kranenburg of the Internet Of Things

RvK: Stanza, you were among the first internet artists. What would you say is the most important philosophical step (if we can think in terms of ‘progress’, or ‘going somewhere’) that you have taken in this period? “In the last twenty years there has been a significant shift in audio visual artists’ practise from linear expressions, to interactive (user controlled) mediations, to generative (evolving) and then network-based (real time) systems. Online, this space  also expands the whole notion of the artist’s studio.  My focus is on the things that change, the flow, the data that describes our experience of the city as space. Data from all sides in systems that can be mediated by all, with varying visualizations communicated over the internet and represented onto different display systems.

There are many theoretical aspects to my work, but primarily I am a practice-based artist……in other words I make stuff.

My work has covered experiments in these areas and traced a shift in practise from modernist approaches of asset gathering (linear construction) to arrangements of datasets in fixed lists or databases (interactivity) to new approaches of mining information across networks in real time.( generative and real time systems)……culling data off CCTV networks, making visualizations of cities from my wireless sensor networks.”

RvK: How do feel about the current actualizations of the ‘in between’ space that you felt, saw or heard coming some time ago?

“I believe there is a new social space that exists in between these independent networks. Future cities will be merged into real time connected up data cities.  A connection of networks of real time information flows. The results created will lead mashed up cities and real time performative city experiences.  This conclusion although led from my earlier trails using wireless sensors in a project called Sensity.

I am interested in how this shared data space can overlap creating a new space in between which only two nodes or spaces share. For example in one of my artistic experiments I have  merged collected data from various real time cities to visualise this new space, the space where the cities overlap and which allude to a new architectural and urban virtual space. Uses of such information might allow rich new interpretative visualisations about the way our world is built, used, and designed.

The resulting artworks represent the real time conditions of the city.  Works like “Sensity”, create real time interpretations of social spaces that inform the world (online), and hopefully create new meaningful experiences allowing critical reflection on the real time city and the social political undercurrent embedded in the search for the real time city.

This might also allow for a greater community of interpreters and beneficiaries to see, and to come to their own understandings arising from this data about our socially-networked environment.  (as the data in these projects is open via XML)

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

The world we will live in seems to be a much bigger brother than the Orwellian vision, it’s the mother of big brother.

Can we use new technologies to imagine a world where we are liberated and empowered, where finally all of the technology becomes more than gimmick and starts to actually work for us or are these technologies going to control up, separate us, divide us, create more borders. Will the securitization of city space create digital borders that monitor our movement and charge us for our own micro movements inside the system?”

RvK: The data is the medium, you state. Can you explain this a little bit?

“Just  that… the data is the medium of the age….”

RVK: Can you find connections to the FB generation? Do you want to?

“It has a useful API as do all these new big sites; however there are restrictions entering the domains and boundaries of others especially when they  try to cross over and get monitised.”

RvK: The key  (or one of the keys) is  the granularity of input for these ‘smart’ systems. How do you see this?

“Yes, small unit blocks, simplified then re built , re-cored re-formed into an understanding that can re-communicate the complexity of the larger system. Strip the city down and re- configure it as a real-time visualization and plug it into other cities.”

The art of gathering data Sesnors in the city

The art of gathering data. Sensors  in the city

RvK: Your work is filled with wonder? Do you feel that this wonder is facilitated somehow in what is now termed Internet of Things?

“I have tried to encompass this “wonder” about real time connectivity and networked space  in my  latest three works, they are about the “internet of things”, but equally  they  are about real  time experiences of the environment and the spaces that change around us.”

Paintings from Studio Oil on Canvas.

March 22nd, 2012

A whole series of Stanza Oil on Canvas paintings are ready for exhibition about the scars in the environment.

X_lomndon_morea1300dpi-100-100cm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The city is everywhere, with lifeless design spreading upwards and forming a conundrum of physical objects in space. A city form is a conundrum of physical objects in space. Cities become “insect colonies”, spreading upwards with giant towers looming over vacant lots, and empty spaces.

OIl On Canvas By Stanza. Virus

OIl On Canvas By Stanza. Virus

Giant cities paint a gloomy picture, of mass urban sprawl; the megalopolis is spreading upwards and everywhere to house a population of which 70 – 80% now lives in cites worldwide.

OIl On Canvas By Stanza. Virus

Oil On Canvas By Stanza. Virus 2

Artworks by Stanza about Surveillance art and privacy.

June 9th, 2011

Artworks by Stanza that in some way deal with surveillance and privacy.

Over the last ten years I have a made of  twenty artworks and large installations that survey my interest in privacy , control space, and surveillance. This also  overlap with my interest in cities, environmental monitoring and the building as display space. It seems to make a nice online exhibition. ( see below)

Main artworks using CCTV surveillance and notion of control space.

stanza_art_installation

Urban Generation; trying to imagine the world from everyone elses perspective, all at once 2002. Multiple CCTV cameras are accessed randomly in real time to make an urban tapestry. What you see is an evolving, generative artwork. These images are from taken London, and they happen as you see them, in real time. The installation versions of this work can be presented in art galleries using projectors or plasma displays. http://www.stanza.co.uk/urban_tapestry/index.html

Baa Ram Ewe…to your clan be true. 2008 This artwork performance focuses on local environmental concerns using ad hoc wireless networked devices for environmental monitoring. In this case the dozen sheep collect and send data about the environment, and respond to the space as a collective as they move about. The sheep monitor the environment in real time, generate sound, and send data to a server (online or offline) where this data is interpreted  visualized and sonified in situ using custom made software. http://www.stanza.co.uk/sheep/index.html

Public  Domain 2010. This project investigates the real time gallery space and the experience of the gallery visitor as they interact with artworks and with each other. The artwork explores new ways of thinking about interaction within public space using data gathered from new technologies. The visitors are “performers” whose movements can be tracked.  The patterns, movement, and exchanges of data in the real space, can be measured and interpreted as an emergent social space and used to make new artworks.  http://www.stanza.co.uk/public_domain_outside/index.html

“Visitors to a Gallery- referential self, embedded”. 2008 The gallery surveillance system embeds the visitors to the gallery inside the artwork. CCTV in public spaces. This artwork uses the live CCTV system inside an art gallery or any public space to create a responsive mediated architecture. 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. http://www.stanza.co.uk/cctv_web/index.html

Public Domain 2005. Is an artwork using live CCTV cameras given away to members of the public. The project places real time CCTV feeds online, creating a randomised narrative of the city landscape and its population. The images are grabbed and placed online and mixed in a unique and custom built software surveillance suite. This first version used ten cameras in Nottingham in 2005. http://www.stanza.co.uk/publicdomain/index.html

Sonicity. 2010. This artwork explores new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space. The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies. http://www.stanza.co.uk/sonicity/index.html

Capacities. 2010. This project leverages the real time gallery space and the experience of the gallery visitor, using data gathered using these new technologies. The objective is to explore new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space. http://www.stanza.co.uk/capacities/index.html

Public Domain: III. 2010. Continuing the series of investigations into the uses of CCTV to extend space and invoke impressions of transparency with architectural space. Here to extend the architecture of the building and extend it into the city. The artwork includes the performative aspect of those being watched as can be displayed inside the work. http://www.stanza.co.uk/CCTV_publicdomain/index.html

Stanza Artwork Live CCTYV

Stanza Artwork Live CCTYV

DATA DATA DATA  II. 2010 Made from the data that is collected from the sensors (usually across the city) or inside a building or a gallery. I have two networks of sensors which collect this data, all this is then published online. This is an art project that gives information about the fabric of our cities. By embedding the sensors like this we can re-engage with the urban fabric.  http://www.stanza.co.uk/data/index.html

“We have nothing to hide only to lose”. 2010 A performative piece using CCTV systems. The CCTV follows the artist around the building in the depths of the night and the result is projected outside in the city. http://www.stanza.co.uk/CCTV_performance/index.html

Stars of CCTV.  2007

These are the Stars of CCTV.  These images represent a portrait of England since the start of the CCTV imaging revolution.This image represented the start of the CCTV revolution. Since then we have seen CCTV cameras placed all over the United Kingdom for our “safety”, without any real debate about the ethic and accountability of surveillance in public domain space.

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

YOU ARE MY SUBJECTS. 2005. This online networked artwork uses live real time data from a camera in NYC . What you are seeing on the screen is happening in New York as you see it in real time.  Someone is always watching you in a world of total surveillance culture. This artwork deals with the aesthetics of CCTV and the voyeuristic notion of who controls the data and who has access to the data. Millions of hours of CCTV are watched in private in closed off networks. “You Are My Subjects”, turns CCTV images into artworks. http://www.stanza.co.uk/i_spy/index.htm

The World Is Watching, The World is Waiting. 2005 This artwork is networked, its real time, and its taking images in the present and representing them to you online as a media visualisation of the whole world. The software system uses over five hundred cameras are take the information and arranges the present time in a continuous flow.http://www.stanza.co.uk/watching_world/index.html

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

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

Timescapes 2004 -5.

Artworks from live media visualisations. Most of these are now large original artworks on canvas available for sale and exhibition. These images or mediascape are made from my software system that gathers images live from any webcam in the world. At your descretion it cuts them up them up to make time shift mediated artworks.

Artworks by Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.stanza.co.uk/timescapes_web/Public_Domain_Event_Space/index.html

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

‘america is bleeding’ – 2005 The computer manipulates the real time experiences and life of NYC as it unfolds. The city and its population are all actors in this real time play. Keywords: Visualisation, data, mediascape, net art, real time, CCTV, http://www.stanza.co.uk/new_york_stories/index.html

 

Syncronicity By Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

Urban Rhythms. Searching for the soul of the city. 2004 A networked real time experience of a city. The artwork collects cctv feeds from around city in real time. These real time images are fed into a software system where a series of specialized channels rework these images. The channels are always on, and always changing, a constant view of world cities changing and evolving around the clock. http://www.stanza.co.uk/spain_cctv/index.html

“Global…Never the same again always different….forever.”2004. A 3d web sculpture being transformed in real time with live data from around the world. This is being updated from webcams around the globe in real time. ‘Never the same again always different….Forever’, uses CCTV and web cams which offer readily available sources of continuous visual data from our environment and world cities. This work turns the notion of surveillance upside down, since in this work we are all watching everybody and opens up a question about the legality of the imagery. http://www.stanza.co.uk/global/index.htm

‘Blue Skies’, 2005 Uses CCTV cameras on the roof of the Watershed Media Centre in Bristol England. This is an online surveillance system using three cameras to monitor the sky above. Blue skies acts as a metaphor using new networked technologies that are generally used to observe people in society that might be engaged in criminal activity. http://www.stanza.co.uk/blue_skies/index.html

“The World Turned Upside Down”: 2007 This artwork was online from 24.9.2007 until the leaves fell in my garden on 12.12.2007.After that only documentation will exist, which is below.  This artwork is available as an installation for exhibitions.  http://www.stanza.co.uk/cam/trees_web/index.html

Seeing Through Walls. 2007. This installation using CCTV to open up the space to  play tricks and to  see through walls Commission idea for the Olympics 2012. This installation uses CCTV to open up the space to play tricks and to see through walls. http://www.stanza.co.uk/fake/index.html

“Monument” 2007. Robotic sculpture and CCTV systems to replace Eros in Picadilly London.The CCTV captured get replayed onto all the giant screens all over London. The robotic arms move and the CCTV cameras come down and say hello. They capture your image and relay the image to banks of screens across the city and online. http://www.stanza.co.uk/monumnent/index.html

DATA DATA DATA by Stanza 2008. This artwork is networked, its real time, and its takes data from a wireless sensor network that is placed in the real space. The old world of modernism was a world of fluids and gases atoms and molecules. This world is now a world of numbers. As we move about our interactivity affects the environment and this change is captured by a wireless sensor network. Real time artwork.  Technical note this can work in a gallery ( online over the internet) to represent the space (gallery or city) as numbers. http://www.stanza.co.uk/datacity/index.html

Soul 2004 -06. Soul is an artwork created to represent the ‘soul’ of the city that captures live data and visualizes the results as a piece of sculpture in a constantly evolving data sculpture. It is presented on a unique display technology, this is a 3 meter globe. Soul is a site specific work placed in urban space.The results of the installation are also viewable to a global audience as an online networked generative experience. Real time images are fed into a software system where a series of specialized channels rework these images to create unique visuals. The channels are always on, and always changing, a constant view evolving around the clock. The data is never the same, it is always changing. http://www.stanza.co.uk/soul_globe/index.html

“This England: A Green and Pleasant Land”, 2005. These pastoral landscapes and seascapes are real time paintings. Instead of CCTV watching our movement in urban space these cameras point out to the landscape or towards the sea. Typically this subject matter was the focus of the ‘Old Masters’. The digital landscape is fused with an ever changing present. http://www.stanza.co.uk/thisengland/index.html

Alpha to Omega 2006. Gathering images live from any webcam in the world that happens to be pointed or focused at the weather. The images are updating from around the globe in real time. http://www.stanza.co.uk/weather_another/index.html

Syncronicity 2008. This work developed out of my research fellowship at goldsmiths college.This is a live visualisation of a hand drawn city. Dozens of hand drawings are being walk on by small robots. The real space made as a visualisation. A special camera system, makes these digital images in the gallery space. Prototype was tested in Plymouth arts centre 2008. http://www.stanza.co.uk/syncronicity/index.html

 

FREEZONE 2005 Is a unique global company offering short holidays.  All bio chips, ID cards, GPS, will be neutralized at the door for the duration of the stay. Obviously “they” will know you are in Feezone, but what you do is up to you. FREEZONE The global “mother of big brother” will create a giant sensor net. The virtual world of databases will be connected via our electronic gadgetry. The giant sensor net of embedded chips, CCTV, bio tech and the internet will all be available to all via Earth pro version 10.2.  http://www.stanza.co.uk/ideasrus/freezone.html

Artworks by Stanza

 

 

 

 

 

 

 

 

 

 

 

Publicity. 2004 Publicity is an artwork about the Surveillance of public domain space utilzing the CCTV systems in place and manipulating the CCTV feeds. A series of codes manipulates the CCTV of the building and created a new relationship with public domain space. This artworks questions who owns the data and who is watching us in these spaces. Most buildings have CCTV and they use it to observe the people inside the space, ie the public. http://www.stanza.co.uk/publicity/index.html

New metaphors relevant to the experience of the city.

November 30th, 2010

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

stanzauu-077-copy

Image: Stanza Video Still 1986. Artitextures.

The patterns we make, the forces we weave, are all being networked into retrievable data structures that can be re-imagined and sourced for information. These patterns all disclose new ways of seeing the world.

The city also has millions of CCTV. In essence the city is the biggest TV station in existence. Millions of hours worth of data are recorded every day by these cameras on city TV. One can take the sounds and images off live web streams and re-represent them thus creating new interpretations of the city in the process. The increase of technology infrastructure in the daily existence of a city means that technology will, more than ever be everywhere in our environment.

Mobile data mining will be part of the fabric of the landscape. We will be carrying this data in pods, phones and IDS cards. Everything is or will be tracked. CCTV, car sensors, tracking inside our phones and id card movement tracking in the guise of anti- terror activity.

stanza_cctvr

Image: Stanza Robotic CCTV sculpture 2007.

Stanza sculpture of robotic arms with CCTV copyright 2007

THE ARTISTS STUDIO AS LABORATORY

August 2nd, 2010

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

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

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

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

stanza_i_am _stanza

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

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

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

stanza_visitors

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

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

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

  • Sonicity
  • Capacities
  • Open Studio: Transparency

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

LISTENING IN THE CITY. SOUNDCITIES SOUNDMAPS.

November 23rd, 2009

SOUND ECOLOGIES: LISTENING IN THE CITY.

Stanza is  presenting some new ideas and works….about sounds in the city.

10am-4pm, Wednesday 18th November 2009
Department of Music, City University London, Northampton Square, London EC1V 0HB

A day of presentations, participatory workshops and informal performance around themes of urban sound, networked sound, locative media and acoustic ecology – the relationship between living beings their environment, as mediated by sound.

More info http://www.furtherfield.org/soundecologies.php

stanza datacity

LISTENING IN THE CITY. SOUNDCITIES SOUNDMAPS.

Here are my sensors all over London collecting data….onto google maps.

www.soundcities.com/data.php

This is the data I  use to make sonicity.  Listening to the city with sensors.

Also see…

www.soundcities.com

This interactive website called soundcities.com allows the audience as creative user the possibility to remix the hundreds of samples recorded from around the world and then save their own mix. Soundcities is an online database of the thousands of sounds from around the world. The website also has series on online mixing desks where you can mix these sounds.  Soundcities uses city recorded soundscapes from world cities made over the last five years. All the sounds are now online also online as open source sounds. The database allows full open sourced access and listening to the individual sounds.  The Database is also open so anyone can upload sounds they collect from world cities, thereby making a contribution to the project and making an online sounds archive. Soundcities is the worlds first online soundmap project.