Posts Tagged ‘stanza’

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creating and presenting work in the mid-1980s with pieces such as Artitextures, a multi-monitor video art installation (originally made as video wallpaper) presented at the V2_ Institute in Den Bosch, Holland (1986); and the Conundrum video, shot in the grey cemented mazes of South London and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 artwork installation The Central City in Madrid May 2012

May 1st, 2012

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

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)

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

Issues In Science And Technology, Spring 2012. Dear Hillary Rodman Clinton

April 13th, 2012

For those of you who know me well, you might find this quite funny. I was recently asked to for twelve images for a US based magazine who said they wanted to do a feature on Stanza. I thought why not, so I prepared the images 300 dpi for the editor as requested and sent them off. A couple of weeks later with a 44 dollar stamp they sent me four copies, very kind. (Most journalists don’t event bother)

Stanza Sensity

Stanza Sensity

Anyway its always nice to see your artworks in print over breakfast and they did look nice. Twelve images of “Sensity”, the live city data art project in the magazine Issues In Science And Technology, Spring 2012. However on first glance I couldn’t believe it they had used my images it seemingly to illustrate a text that wasn’t about me or by me. Off I steamed…. this editor needs an email.

Anyway before I  shot myself in the foot, I thought I better give it a read. The article is  on “Internet Freedom and Human Rights”,  just my thing, I wonder who wrote it……err

Dear Hillary Rodman Clinton thanks for using my artworks in your essay…. …

I got another coffee together and gave it a proper read, it’s not bad actually.  “the more people online contributing ideas,  the more valuable the network becomes to all the other users”………

“If we are not careful, governments could upend the current Interent governance in a quest to increase their own control….”…The last point rather timely since the UK are about do just that.

Stanza Sensors On Google Maps

Stanza Sensors On Google Maps

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

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 using data and the artists DNA sequence. By Stanza

February 22nd, 2012

Genomixer DNA artworks By Stanza

Artworks using the atists DNA

stanza_dna_lifeforms

 

 

 

 

 

 

 

 

 

 

 

 

Genomixer ….a database of dna code. A completely new online experience.

A series of online artworks inspired by the human genome sequence and developed from dna profile which are sequenced from the artists blood. The online artworks are investigations into genetic codes mapped and re assembled online. The artwork series enables a cross reference all the code on the genome sequence allowing you to intermix or breed your own variable of me; you can look at the new mix of chromosomes in real time; on line.

 

To make these works my dna was sampled to make metaphases, g-banding and full profiles of chromosomes. Samples of my dna currently resides in my freezer ready for cloning. Works are enabled by dna code extracted from my blood. The sounds and images of code make audio visual self portrait versions.

Artworks using the atists DNA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

stanza dna metaphase painting 2002

stanza dna metaphase painting 2002

It seems likely with the advent of self dna tests the emergence of this type of DNA test will be prolific. This data can be recorded into the genomixer database and saved. That is, each independent user will have there own personal online audio visual experience based on there unique genetic code and becuase they have the option to save it this means they can also see and listen to other users results. In other words this is a giant open source audio visual labyrinth and database. The system uses a generative audio system that can play interactive non linear audio over the net. The sounds are mapped to the genetic codes. Genomixer is a complete audio visual online generative system. Code representing code generated by code made from blood.

Genomixer ….a database of dna code.

Artists Talk By Stanza At QUAD Gallery Derby

January 22nd, 2012

Artists Talk Stanza:

Portrait Of Artist Stanza In LA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Saturday 11th February 5.00 – 6.30pm in the Box

Stanza will be presenting the development of technology and its role within the arts over the last 15 years, introducing us to a number of his legendary and iconic artworks alongside the history and context of digital audio visual art.

Stanza generative artwork 2005

Stanza generative artwork 2005

Parallel Realities. Time based surveillance artworks

June 12th, 2011

Parallel Realities. Made using custom made software by UK artist Stanza  that take images from live feeds often live news feeds and live feeds.

Stanza. Los Angeles CCTV Media Visualisation 2005. Large print On Canvas.

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.

These artworks are made from small unit blocks, simplified then re built,  re-cored re-formed into an understanding that can re-communicate the complexity of the larger system.  From a series  media visualisations 2004  – 2006  made using custom made software that take images from live feeds often live news feeds and live CCTV feeds.

Timescapes. Made using custom made software by UK artist Stanza  that take images from live feeds often live news feeds and live CCTV feeds.

Stanza in this book Art Practice in a Digital Culture

June 12th, 2011
Art Practice in a Digital Culture Edited by Hazel Gardiner, Edited by Charlie Gere.
There are a series of my images and Janis Jefferies has referred to a number of artworks.

Research as art, Charlie Gere; Triangulating artworlds: gallery, new media and academy, Stephen Scrivener and Wayne Clements; The artist as researcher in a computer-mediated culture, Janis Jefferies; A conversation about models and prototypes.

Much as art history is in the process of being transformed by new information communication technologies, often in ways that are either disavowed or resisted, art practice is also being changed by those same technologies. One of the most obvious symptoms of this change is the increasing numbers of artists working in universities, and having their work facilitated and supported by the funding and infrastructural resources that such institutions offer. This new paradigm of art as research is likely to have a profound effect on how we understand the role of the artist and of art practice in society.

In this unique book, artists, art historians, art theorists and curators of new media reflect on the idea of art as research and how it has changed practice. Intrinsic to the volume is an investigation of the advances in creative practice made possible via artists engaging directly with technology or via collaborative partnerships between practitioners and technological experts, ranging through a broad spectrum of advanced methods from robotics through rapid prototyping to the biological sciences.

Art Practice in a Digital Culture - Digital Research in the Arts and Humanities

Front cover shows Stanza images Public Domain.2008

Stanza interviewed for Leonardo Almanac New Media Exhibition Re-Drawing Boundaries

June 12th, 2011

Stanza interviewed for Leonardo Almanac

LEA New Media Exhibition. Re-Drawing Boundaries. Focus On: Stanza
Curator: Jeremy Hight

Stanza interviewed for Leonardo Almanac New Media Exhibition Re-Drawing Boundaries

 

 

 

 

 

 

 

 

 

 

 

 

Senior Curators: Lanfranco Aceti and Christiane Paul

There is an interview here between Stanza and Jeremy Hight for this LEA New Media Exhibition.

OLYMPUS DIGITAL CAMERA

 

 

 

 

 

 

 

 

 

 

 

Do not reproduce this image without my consent….


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

The City and Surveillance Culture. Artworks about privacy and transparency of information

May 13th, 2011
Stanza Artwork

Stanza Artwork. STANZA ON CCTV

Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analysed, interpreted, and logged. The world we will live in seems to be a much bigger brother, than first realised, its the mother of big brother. _stanza

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 city already has a recorded source of data, CCTV is everywhere. Using  data  from cctv, you can bring the outside inside. Selected feeds are collected from around the  world in real  time.  These real time images are fed into a software system  where a series of specialised channels rework these images. The channels are always on, and  always changing, a constant  view  of  the world changing  and evolving around  the  clock.  This uses especially created  software  and technology to  randomly  find images in real time from anywhere in the network, in this case anywhere in the world.

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.

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 value of information will be a new currency as power change. The central issue that will develop will be the privilege and access to these data sources.

watershed-publicity

 

 

 

 

 

 

 

 

 

 

 

 

Uses of this information and data should allow rich new interpretations on the way our world is built, used, and designed.

So can we  imagine the city at a different scale. Maybe it is possible to extend our imagination and enable that perception of the city as a dynamic, real time network. We can now put systems in place that can re–employ our perception and thus create new understanding of how this behaviour unfolds. There are patterns, they are connected and the systems that evolve, can be simulated and acted upon.

We can influence the process and the system and we can also create variables into this system that allows further understanding of the bi-products of the system, the data, and the resulting information.

Is it a  world full of data that can help understand the fundamentals of our outside environment, and monitor the micro codes of our dna to monitor disease?

Is it a world where we are liberated and empowered by data, where finally all of the technology becomes more than gimmick and starts to actually  work for us.

 

Stanza asks:- Can we use new technologies to imagine a world where we are liberated and empowered…

April 4th, 2011

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.”

Stanza Live City Data

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.”.

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.”

Works by stanza
Façade.

I have been comissoned to make a responsive architectural façade. The facade is 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 in Norway. The 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 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.
‘Capacities’ by Stanza.

I am planning a much larger version of Capacities and I am looking for an exhibition for it. In Capacities 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. ??Sonicity by Stanza

Sonicity

I am working on the next version of Sonicity for a space in South London.  This artwork is a responsive installation, a sonification of the real space and environment. The sounds you hear are the sounds of the changing environment, ie the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors presented as an installation on 170 speakers.

This artwork focuses on the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from these new technologies. My system monitors the space (the building) and the environment (the city) and captures live real time data (light , temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time.

Stanza was interviewed byRob van Kranenburg from The Internet Of Things.eu

Stanza data data data

The City Re-imagined. Residency at FACT Liverpool. 2010

March 11th, 2011

A series of artworks centered in Liverpool by Stanza from a residency at FACT. These artworks are about the city and how we react to the changing space around us. They are focused on our relationship to urban space and how by incorporating live data and CCTV images, different representations of Liverpool and as a living breathing entity can emerge. The works are provocations that relate to our hopes and aspirations for the spaces around us.

In these artworks I set out to explore public domain space in innovative ways following on from my first Ropewalks Square proposal to FACT(http://www.stanza.co.uk/portal/) and to make artworks exploring the use of live data CCTV in public space. The works are located between art, urbanism, and surveillance culture and they focus on the ethics and ownership of public spaces and how they are used.  The work includes ten interventions and artworks which  are all online (see below). I have tried to create narratives that demonstrate innovation and ethics of space and in several projects used an audience or local people to be involved in the works.

Included in the body of artwork are sensors that monitors spaces for environmental change. Another artwork proposes to extend the building at FACT virtually by projecting CCTV into Ropewalks Square and across the city. Another is a spy frog that talks, and a series of new public squares have been made across the city with minimal aesthetic were one can go to contemplate just what is going on.

These projects like are like seeds. They have been planted and now they need watering.

I hope you enjoy the work.

Public Domain: Series III.

Stanza Artwork Live CCTV

Live CCTV across the city. 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

We have nothing to hide only to loose.

 

Stanza Artwork

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.htm

Regeneration Squares.

 

Stanza Artwork

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.

Fortuna.

Stanza Artwork

Stanza Artwork

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

This is an online artwork using images from across the city, representing the struggle for change. The street was known as the Bond Street of the North, it was in the past a toll road. The working classes would go to work under the road in tunnels and enter via back doors of the expensive shops; never to be seen by the rich, thus kept separate. The city has a new “Bond Street” the L1 area. It is a cathedral of commerce separate from the issues that exist everywhere else in the city.

Binary Graffiti Club.

 

Stanza Artwork

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

Inspiring young people to see the city as canvas to create change. This is a selection of images that represents the hopes and aspirations of young people set in various contexts in especially made binary hoodies.

Data data data

 

stanza Artwork. Live sensor data. 2010

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

A live projection of environmental changes. Sensors scattered over the building respond to changes in space in real time. They are turned into an event space projected into ropewalks square. This artwork is networked, its real time, and its takes data from a wireless sensor network that is placed in the real space.

Mental Memes.

 

Stanza Artwork.  2010

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

The idea is to create a visual regeneration with the mind. I want to use space and time at a football match for an artistic intervention. The idea is to see the mind as a public domain space for this intervention; and to make an artwork using this space.  This project is about giving some time back to a collective entity, a visualisation for a common good to empower the space around us. In this case the city. It might be a simple mind map or it could be a complex linking of all the heartbeats of the audience.

Soundcities

 

Stanza Artwork.  2010

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

From the first UK soundmap project, here are 200 sounds from all over Liverpool, Gathering assets for mediated visualisations across Liverpool. (http://www.soundcities.com/)

an online artwork using images from across the city, representing the struggle for change.

Spy

 

Stanza Artwork.  2010

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

Robotic sculpture frogs see people and tell them what to do. The programmed frogs can talk and as you walk passed them they tell you what they think.

In God We Trust.

 

Stanza Artwork.  2010

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

The idea was to collect data in the house of god to monitors His presence. Sensing God with environmental monitors. The data is turned into sounds and visuals. ie a sonification of God space and a visualization thus questioning our belief systems.

Portal.

http://www.stanza.co.uk/ropewalks%20square/index.html

A proposal to cover Ropewalks and to create a unique arcade. Moving away from old metaphors of Liverpool’s imperial history, to create a newer global image, digital and creative, a vibrant risk taking culture that is  independent, free thinking and global.

All artwork Stanza. 2010

The city and the Internet becomes public domain space. By Stanza.

December 8th, 2010

stanza artwork

 

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. The securization of city space create digital borders that monitor our movement and charge us for our own micro movements inside the system.

My wireless sensor network is set up to visualize cities as ‘worlds’ full of data, a city of bits. These new data-spaces can help us understand the fundamentals of our outside environment. There is an argument to opening up the level of control and responsibility given allows freedom within the system. It’s a good argument until something changes, the passwords change, the building goes private, and every single piece of data is used for something that it wasn’t intended for. Some things change for the better but sometimes they don’t; one thing is for sure; things change.

Therefore my focus is on the things that change, the flow, the data that describes our experience of the city as space.

Future cities will be merged real time connected up data cities.

I envisage the city of the future will start to build a system that will integrate this data into a sort of semantic city. A visualized flow city data experience will allow us to see ‘the soul of the city’. By mixing the XML outputs of the various cities I have created interfaces to mash up the city experience into common themes and poetic threads.

The city and the Internet becomes public domain space. A brand new era. The Magic is Complete.

We just moved from fixed assets and linear systems, to interactive and generative works and finished in a real time emergent space across networked cities.

This space is very much up for grabs commercially, like the coded DNA inside our bodies, the shared city information spaces represent a mine of resources to be exploited…..where the boundaries and locked fences exist in the real world are generally controlled by the state in the virtual world, it seems commerce is having the upper hand.

Stanza 2007

SOUNDCITIES. COM…global soundmap project.

December 8th, 2010

SOUNDCITIES. COM. Is the world first soundmap project.  If you work in field recording why not go to the site www.soundcities.com and put some sounds up.

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.

stanza soundcities liverpool soundmap

stanza soundcities liverpool soundmap

History of Soundcities  soundmap project

In 1995 and 1996 I approached the BBC and The Arts Council for funding support for a first version of soundcities and a database of found sounds and field recordings of the cities in the UK however both said no.

Stanza started the soundcities recording project anyway (1998).  In 1999 a project called soundmaps was released and published as part of the “Central  City”  online net art project and this  won numerous art awards around the world.  In 2004  www.soundcities.com became the worlds first online found sound soundscape database.  Soundcities has remained independent and funded by Stanza.

SOUNDCITIES. BY STANZA 2007

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The project soundcities.com now has found sounds and field recordings from all around the world and across UK and it is an online map of sounds. It is also open sourced.

Essentially soundcities.com is an online database for sounds mapped to both Google maps and Google earth with numerous features; it also has unique XML feeds, with unique city and country id’s that can be queried to make you own interfaces, visualisations and noise maps. Users can contribute and put sounds on a map, users can put sounds in the database, they can listen to  thousands of sounds. The sounds can be grouped in categories, moods and descriptions etc

Users are able to upload sounds which are then linked to a Google map and Google earth in order to create a library of sounds according to location. They also add short text about the sound. The database is unique as it is open for all to use and musicians, sound designers can use the material on it to write interfaces via these XML feeds.

Soundcities soundmaps  is the sort of project that academics and sound researchers might find useful particularly those who study  noise maps,  soundscapes studies or sounds in the environment.

Stanza 2001. Giving performance of Soundcities.

Stanza 2001. Giving performance of Soundcities.

If you work in field recording why not go to the site www.soundcities.com and put some sounds up.