Posts Tagged ‘visualisation’

Stanza Media Facade. Responsive Architecture.

November 30th, 2010

This proposal has won the Nova Folkets Hus facade international juried competition and is now in development.

This AOF Nova facade utilizes, electronic art, new digital media, interactive technology, dynamic real time solutions, and networked space to create responsive architecture that reflects the emotional real time state of the city of Trondheim by UK artist Stanza.

stanza_jtrondeima4_mockup3s

Stanza Media Facade 2010. Data from across the city.

Stanza artwork.

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

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

This work opens up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This is used by me to make artworks but it is of equal interest to urban designers, city planners, and architects. The main point is to question the social political fabric of the landscape around us.

This work aim to reclaim the city which is remade as a real time virtualised space belonging to all.

http://www.stanza.co.uk/facade/concepts.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

RESPONSIVE ARCHITECURE FACADE – DATACITIES

June 18th, 2010
stanza_artist_sidefacade_new2

Stanza . Responsive architecture. 2010. AOF Facade Norway.

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

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

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

Stanza Live City Data

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

UK artist Stanza wins VIDA 6.0, 2003

May 31st, 2010

UK artist Stanza wins VIDA 6.0, 2003

http://www.fundacion.telefonica.com/es/at/vida/vida10/paginas/v6.html

El Jurado de la Competición de Arte y Vida Artificial Vida 6.0 – Daniel Canogar, Chris Csikszentmihalyi, Machiko Kusahara, Rafael Lozano-Hemmer, Jane Prophet y Nell Tenhaaf – examinó un número récord de propuestas: 71 obras de arte que utilizan conceptos y técnicas de vida artificial. Estas piezas fueron preseleccionadas de un grupo de 89 recibidas de 21 países. La Fundación Telefónica de España, organizadora del concurso desde hace cinco años, concederá los siguientes premios

 

Stanza Generative software map maker.


THE CENTRAL CITY AND INNER CITY

INTRODUCCIÓN

La idea es ahondar en las analogías de la identidad orgánica de la ciudad. La microciudad se convierte en una red orgánica de cuadrículas y diagramas. La forma y el contenido de este trabajo es un mundo visual de la ciudad y su estructura. Redes de tecnología de la información se ponen en contraste con redes orgánicas y redes urbanas. El proyecto fusiona los sonidos de los diferentes espacios. Los sonidos del lenguaje imponen un ritmo con el que la narración visual puede interactuar. ‘The central city’ es una experiencia de arte por Internet, interactiva y audiovisual. Está formada por trozos de texto con sonidos incorporados, todo ello realizado para Internet. La ciudad se convierte en una red orgánica de cuadrículas y diagramas en la que se yuxtaponen imágenes y sonidos urbanos.

En este proyecto he querido desarrollar analogías para la identidad orgánica de la ciudad como comunidad urbana y establecer enlaces con redes electrónicas y comunidades virtuales. Esta interacción orgánica se pone en contraste con las estructuras realizadas por el ser humano, así como con las formas del diseño urbanístico. Los espacios en la red son para soñar, pensar, meditar y la transitoriedad. La forma y el contenido de este trabajo es un mundo visual de la ciudad y su estructura. Un laberinto visual, un dédalo de circunstancias. La propia ciudad está siempre en transformación, siempre fluyendo. Cada aspecto de la vida ciudadana parece mostrar unas características específicas que pueden transformarse en las diferentes partes del laberinto, componiendo las imágenes que se van a utilizar. La experiencia urbana consiste en pequeños bloques y celdas unitarios que se relacionan y unen entre sí para componer la identidad urbana. La ciudad ha pasado de metrópolis a megalópolis y, finalmente, a ecumenópolis. La ciudad está en todas partes, propagando su diseño inerte hacia el cielo y formando un guirigay de objetos físicos en el espacio. Las ciudades se convierten en “colonias de insectos”, proyectadas hacia arriba como gigantescas torres acechantes ante cualquier solar sin construir, cualquier espacio vacío.

HACIA LA MATRIZ. CIUDAD CUADRICULADA

Mi intervención artística mira fragmentos de nuestra experiencia de ciudades, componedores de la ciudad completa. La ciudad central es un lugar que parece fuera de control, pero que pretendemos controlar a través del diseño. La ciudad como cuadrícula, como repetición, puede parecer sublime o puede resultar confusa y carcelaria. Las macrociudades nos ofrecen un espectáculo desolador de propagación urbana masificada; la megalópolis se extiende hacia arriba y a todos lados para albergar a ese 70%-80% de la población mundial que actualmente vive en las ciudades.

Este trabajo en la red representa espacios, espacios idealizados. No veo la “ciudad central” como una simulación. De hecho, no me interesa especialmente la simulación. Veo la evolución final del proyecto como una experiencia, una experiencia online en Internet, que puede contemplarse desde dentro del cubo blanco que es el ordenador. El marco, la cuadrícula que contiene este trabajo, es el ordenador e Internet. Imágenes de mapas que vuelven a dibujarse y procesarse, para lograr una ciudad en evolución perpetua. No es necesario recorrer caminos iguales.

LA CIUDAD COMO SONIDO

Me interesan los sonidos de lugares concretos y la forma en que los sonidos reflejan su identidad y restablecen las características de cada espacio o entorno. Cada ciudad tiene una identidad determinada y los sonidos que escuchamos en ella nos puede dar pistas sobre las personas que la habitan, además de provocar y estimular nuestros sentidos de una forma musical. Los sonidos del lenguaje imponen un ritmo con el que puede interactuar la narración visual. La intención dentro de las secciones más modernas de la ciudad central es crear una experiencia audiovisual que evoque el espacio, tanto en forma de descripción literal como de composición musical desarrollada. Estas son las ideas que conforman mi nueva serie de “mapas sonoros” y la “ciudad sonora”. La ciudad se codifica en formas crecientes basadas en patrones algorítmicos. La experiencia de la ciudad digital. Una experiencia lúdica no lejana a la propuesta por la crítica situacionista. Y como los situacionistas, también se pretende construir ciudades. Mi respuesta inicial en el proyecto de ciudad central, por ejemplo, fue deconstruir un lenguaje del entorno urbano y ciudadano y volver a construirlo como imagen artística para tratar de constituir una forma y un contenido nuevos. Si te colocas en el medio de esta estructura concreta, sólo encuentras el significado de la experiencia estética cuando decides pasar de un lugar al siguiente. Utilizo estos pequeños fragmentos como ritmos que interactúan con la parte siguiente y evolucionan en algo totalmente nuevo. Esas partes son células, elementos de un todo que se genera a sí mismo. La naturaleza de los sonidos y el ruido de las ciudades en tono y lenguaje. Un ritmo que antes era de fondo puede dejarse oír en primer plano. Se mezcla y evoluciona. La ciudad es su propia música, en constante transformación, una hermosa combinación de chirridos, martilleos y percusiones. La conocemos de sobra, pero no somos consciente de ella mientras nos bombardea. Sin embargo, los sonidos evolucionan, se generan, se mueven, mueren, languidecen y cambian. Los sonidos de la ciudad están ahí constantemente, no hay silencio, el código no se detiene. Los niños, los trenes, los taladros, los animales, los microsonidos, los sonidos de nuestros cuerpos, los sonidos de la calle, el interior de nuestras almas. Formas conocidas, identidades y sonidos que son comunes a todas las ciudades y, sin embargo, cada una tiene sus formas especiales que individualizan y distinguen cada lugar, cada espacio.

Todos los sonidos están grabados en minidisc de sus fuentes originales, para luego ser incorporados a la ciudad central. Los archivos de sonido tienen distintos funcionamientos: unos tienen forma de bucle, otros están mezclados y otros son generativos. Hay incluso una sección de máquina de discos en la que los sonidos salen de la jukebox desde el servidor y en casa uno puede organizar su propio karaoke, recitando las palabras sobre la banda sonora de la ciudad industrial.

LA CIUDAD INTERACTIVA

‘The central city’ se aparta del concepto de pieza “lineal”, optando más por una experiencia no lineal e interactiva que entrega al público parte del control sobre la obra. La ciudad te permite experimentar obras diferentes, dependiendo de la forma seleccionada para navegar. También se puede elegir un sistema aleatorio. Al igual que esta no linealidad, algunas de las piezas cambian con el tiempo, y el usuario puede controlar su funcionamiento e introducir cambios de sonido e imagen. Se podría decir que esta transformación de la relación entre el público y el artista modifica nuestra percepción de la obra artística. Presento una situación en que el público puede no sólo participar sino también decidir, contribuir a la forma y el contenido. La obra explora esta nueva relación entre el público y el artista. El usuario decide si quiere modificar sonidos e imágenes, dónde ir, qué ver, qué escuchar. Puede hacerlo mediante movimientos dentro de la cuadrícula. En definitiva, el usuario puede elegir la experiencia que desea tener, sintetizando medios, sistemas y fenómenos convergentes en el proceso.

LA CIUDAD COMO CÓDIGO

La ciudad se codifica en un número creciente de formas basadas en patrones algorítmicos. Es la ciudad digital, con un carácter lúdico no alejado del de la crítica situacionista. Y como los situacionistas, también se quiere construir ciudades. La ciudad central se ha convertido en una amalgama de ideas del campo del arte, la arquitectura, el diseño y el urbanismo, unidas dentro del espíritu y el genio del movimiento situacionista.

EL REINO DIGITAL

Mediante el ratón se introducen sonidos diferentes y el usuario puede tener cierto control sobre la experiencia. Además, en las secciones generativas las imágenes adquieren formas distintas y se mueven por la pantalla en un espacio tridimensional. Las secciones se controlan por posición o por ratón. Unos pequeños botones incorporan sonidos generativos a imágenes que van evolucionando y desapareciendo con el tiempo.

El proyecto de Central City se pensó específicamente para Internet, como pieza de arte en la red. Las restricciones técnicas y de diseño que impone el medio al que va destinado determinan el sonido y la imagen resultantes. Este trabajo se pensó esencialmente para Internet por el potencial que ofrece de llegar a un público mucho mayor. Mi idea del arte en la red es el que utiliza los protocolos de la red como medio. La obra ha de ser específica para la red, diseñada para Internet, debe utilizar elementos de html, javascript e incorporar también flash, shockwave y java. El arte en la red es comunicación global, interactiva. Es también relativamente barato y no tiene las limitaciones económicas que se encuentran en otras manifestaciones artísticas. La naturaleza de la web permite una mayor libertad frente a la censura actual y, debido a que sigue desarrollando su lenguaje, ofrece también una mayor libertad de expresión.

Muchas de estas obras están controladas principalmente por el ratón. Cuando el usuario lo mueve cambia la luz y la imagen. Se puede encontrar una copia de todo el proyecto en CD-Rom y también existen versiones que se pueden exhibir como instalación para espacios de mayores dimensiones. El proyecto ha evolucionado desde su nacimiento en 1997, hasta la forma que tiene en la actualidad, que es la versión 5 de 2003.

También se está desarrollando una versión que permite que el sitio web pueda verse en diversos ordenadores. El sitio web se proyecta utilizando varios proyectores, y al mismo tiempo los sonidos se envían a un software nuevo, especialmente escrito en max msp. Este software remezcla y fusiona los sonidos. El trabajo en este formato se ha exhibido en directo en varias ocasiones.

HISTORIA DE MIS IDEAS. OTROS PROYECTOS

‘The central city’ es una amalgama de ideas del campo del arte, la arquitectura, el diseño y el urbanismo. Sobre urbanismo han tratado también otros trabajos anteriores, como el LP “Conundrum” y obras en vídeo. En estos trabajos se entra en una región llena de sonidos construidos con precisión, creadores de atmósferas sombrías que evocan en quien los oye paisajes urbanos. “Conundrum”, de 1987, es un disco y vídeo conceptual sobre la naturaleza del entorno urbanístico de Londres. El vídeo está rodado en la zona sur de Londres y editado en estudios de televisión con un trabajo exhaustivo de post producción. El LP utiliza sonidos que se pueden oír en el entorno mezclados con un pesado paisaje industrial. De esta época es también “Artitextures” construido en un panel de pantallas de vídeo y que muestra temas del diseño urbano deconstruidos y repetidos en una cuadrícula. Se trata de una serie de imágenes y formas urbanas, continuamente editadas y reprocesadas que contienen fragmentos aislados de la vida en la ciudad. También es interesante la serie completa de pinturas de gran formato y obras basadas en fotografías. La serie “Control” está formada por pinturas al óleo en blanco y negro sobre lienzo del período 1990-1992 y la serie “New Decayed” de 1989 (ver www.stanza.co.uk).

La ciudad central recibe la influencia de estos trabajos sobre el entorno urbano realizados en otros medios, y como obra interactiva en la red ha evolucionado a lo largo de varios años hasta su actual forma y versión. El trabajo se inició en 1997 y la primera versión se puso en la red en 1997. Actualmente está en la versión cuarta e incluye obras como soundcities e inner city.

Cuestiones técnicas. Se necesita shockwave para algunas áreas y no se podrá escuchar mi música o los sonidos si no está instalado shockwave. Se puede descargar este plug-in del sitio web macromedia. Deseo agradecer a todos los que me han prestado su ayuda en las diferentes partes del proyecto, en especial a los arquitectos, urbanistas y habitantes urbanos. Gracias a todos los que me han ayudado con el código cuando lo he necesitado. Gracias a todos los buscadores que permiten el acceso a este trabajo, a las compañías de software y, en especial, a Adam Hoyle, director online, Atty, Toxi, Danny Brown, Vicky Forrester, Andy Wilson, Pelado, Crab, Dug Group, los códigos abiertos, la red y todo el freeware.

Meltdown_2004_.120-90

 

 

 

 

 

 

 

 

 

 

 


El sitio web 2003 (Versión 5) consta de los siguientes trabajos:

INTRODUCCIÓN

La forma y el contenido de este trabajo es un mundo visual de la ciudad y su estructura. Redes de tecnología de la información se ponen en contraste con redes orgánicas y redes urbanas. La ciudad se convierte en una red orgánica de cuadrículas y diagramas. He querido desarrollar analogías para la identidad orgánica de la ciudad como comunidad urbana y establecer enlaces con redes electrónicas y comunidades virtuales. Esta interacción orgánica se pone en contraste con las estructuras realizadas por el ser humano, así como con las formas del diseño urbanístico. Cada aspecto de la vida en la ciudad parece mostrar características específicas que pueden transformarse en las diferentes partes del laberinto, componiendo las imágenes que se van a utilizar. La ciudad ha pasado de metrópolis a megalópolis y, finalmente, a ecumenópolis.

Central City

La ciudad central. Las más de treinta secciones que contiene incluyen: Transportron, maprouter, evolver, cuboid, univercity, transportron, textor, matrixity, fostexity, videotron, small worlds, etc. Cada una incluye además bandas sonoras y distintas opciones de imágenes, entornos tridimensionales y sonidos generativos. Central City es una pieza de arte en Internet, interactiva y audiovisual. Está formada por fragmentos de texto, con sonidos incorporados, especialmente concebida para Internet. La ciudad se convierte en una red orgánica de cuadrículas y diagramas en la que se yuxtaponen imágenes y sonidos urbanos.

Inner City

Inner City es una experiencia audiovisual e interactiva de arte en Internet que continúa la búsqueda del “alma de la ciudad”. En sus diversas áreas se encuentran entornos de sonido e imagen generativos construidos en espacios tridimensionales. La microciudad se convierte en una red orgánica de cuadrículas y diagramas. La forma y el contenido de este trabajo es un mundo visual de la ciudad y su estructura. Inner City es un laberinto interactivo que se desarrolla íntegramente en la red. Está formada por veinte secciones que incluyen virosity, artitexture, blackstar, complicity, cuboxis, intoxcity, megalopolis, organicity, phyletcity, revolver, utopias. También se han desarrollado ediciones con pantalla táctil, disponibles para su exhibición.

Soundcities

Composiciones sonoras de la interfaz urbana y audio del nuevo CD. El proyecto “soundcities” está íntegramente formado por sonidos existentes y paisajes sonoros extraídos de los miles de muestras recogidos por mí. Me interesan los sonidos de cada lugar concreto y la forma en que los sonidos reflejan su identidad y restablecen las características de cada espacio o entorno. He recogido y grabado los sonidos de las siguientes ciudades: Sao Paulo, Londres, París, Dresden, Amsterdam, Saltburg, Graz, Rotterdam, Barcelona, San Sebastián, Manchester, Liverpool, Ljubiana, Frankfurt, Oporto, Estambul, México, Chicago. Estos sonidos constituyen la base del nuevo CD soundcities. También realizo una performance en la que utilizo las aplicaciones de Central City y los sitios web en dos ordenadores portátiles para generar estos datos de sonido e imagen.

CCITYV

Monitorización constante de las ciudades del mundo. El estado emocional de la “metropolicía”. Proyecto sobre la subvergencia de la vigilancia. Unas webcams recogen imágenes de ciudades de todo el mundo en tiempo real. Estas imágenes son trasladadas a u sistema de software donde son reelaboradas por una serie de canales especializados. Estos canales están siempre en marcha y siempre transformándose, ofreciendo una vista constante de las ciudades del mundo evolucionando con el tiempo. Utiliza software y tecnología a medida para viajar aleatoriamente por el mundo e integrar las imágenes captadas por las cámaras. Personas que miran a personas que miran las ciudades. Incluye las siguientes secciones: tormented, bleeding, earthquakes.

Biocity

18 espacios virales emergentes generativos que ahondan en las analogías de la identidad orgánica de la ciudad. La ciudad como código, conocimiento emergente y estructuración de memoria. La ciudad se codifica en una serie de formas crecientes basadas en patrones algorítmicos. Mediante sistemas generativos las imágenes adquieren forma, se transforman y se mueven por la pantalla. El sistema lleva integrado un procesador de sonido generativo. Todos los sonidos proceden de la ciudad, y son reprocesados en tiempo real. Los sonidos de la ciudad no se detienen; no hay silencio, el código no para. Incluye 18 secciones diferentes. Requiere como mínimo G4 o Pentium 4.

Soundscraper

Seis instalaciones generativas audiovisuales que fusionan imágenes y sonidos en un espacio lúdico en la red. Las imágenes están controladas principalmente por movimientos de ratón y posición. Cuando el usuario mueve el ratón, la luz y la imagen cambian. Se pueden montar como instalaciones en las que los visitantes mueven las imágenes al moverse ellos por el espacio.

Photocity

Entorno online de imágenes basadas en fotografías tomadas en ciudades de todo el mundo y procesadas en una fusión modernista de imagen y sonido. Una selección de imágenes diferentes de diversas ciudades del mundo, en las que he tomado miles de fotografías. Esta primera serie reúne sonidos e imágenes de Dresden desde 2001. Fusiona también los sonidos que se escuchan en lugares determinados. La ciudad ha pasado de metrópolis a megalópolis y, finalmente, a ecumenópolis. La forma y el contenido de este trabajo es un mundo visual de la ciudad y su estructura. Fragmentos artísticos de nuestra experiencia de las ciudades y que componen toda la ciudad.

Sonicity

La webcam recoge sonidos en directo y los traslada a mi base de datos, al tiempo que los recompone. La interfaz online te permite conectar directamente con este sistema y realizar tus propias mezclas urbanas generativas. Un código generativo especial reorganiza estos sonidos naturales de las calles, el sonido de lo urbano. Incluye un sistema que permite el uso de sistemas audio generativos en la red. Los sonidos de la ciudad son trasladados a un espacio emergente continuo con el que se puede interactuar.

Soundmaps

Soundmaps toma los sonidos del lugar en que se pueden escuchar. Es un conjunto de mapas sonoros interactivos que se pueden adaptar para cualquier ciudad del mundo y crecen hasta crear un laberinto de multitud de mapas basados en los sonidos de la calle. Las primeras versiones se utilizaron en mi proyecto de Central City en 1998. En las nuevas versiones se exploran las relaciones entre los sonidos de la ciudad y su estructura urbana. Dependiendo de dónde estés en un momento determinado, los sonidos de la ciudad son otra vez recogidos por la red de cuadrículas y diagramas.

Estos trabajos pueden exhibirse en forma de instalaciones. Algunos de ellos pueden mostrarse en pantallas táctiles especiales y también se ha desarrollado una performance que incorpora Central City y Soundcities.

Three exhibitions currently featuring my work. April 2010

March 30th, 2010

Three exhibitions currently featuring my work using data, and ideas connected with surveillance space, mapping, landscape and networked spaces. April 2010

ddc

Image: Stanza live real time city data visualisation. 2007

1. ”Map Marking” features five works by artists and designers who employ digital technology to create maps, annotate them or intervene in the mapping process. Taken as a whole this exhibition represents a personalized cartography that endows maps and the spaces to which they are linked with the ephemera of life, from the fleeting sensations of the environment to the transitory movements of people and their emotions.
Apr. 6 – May 7, 2010, tue – fri, 12 – 6 pm, with a reception on Apr. 21st at 6:00 pm. The PDG show description (http://csis.pace.edu/digitalgallery/ ).

2. 2. “Park” Towneley Park Burnely as part of AND festival. April 2010 Looking towards the window in the gallery you can see a digital virtual landscape of the view through the window. The artist has embedded an image of the real world inside the artwork and using a network of multiple wireless sensors in Towneley Park he has recorded light, temperature, noise, humidity using customised environmental technologies. The painterly squiggles on the image show the data and the sounds you can hear are streams of data which the artist has turned into sound. http://www.stanza.co.uk/possibilities/index.html

3. Decode at V & A. Until 11 th April.  Sensing the gallery and the environment to make art. The results are the visualisation and sonification of real time spaces. Using custom made sensors in the V & A Porter gallery and around the city. 20 custom environmental sensors units measure, light, noise, sound, humidity, and temperature….this data is turned into a online real time visualisation of the space. Stanza’s work “Sensity V & A” uses environmental sensors scattered all over the museum and the city to make visualisation and sonifications. Literally painting with data these works open up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This is used by stanza to make artworks but it is of equal interest to urban designers, city planners, and architects. Stanza’s main point is to question the social political fabric of the landscape around us. This work aim to reclaim the city which is remade as a real time virtualised space belonging to all. The work is interactive, real time and responsive; it is also available online. http://www.soundcities.com/va/

Stanza_sensity_va-0557

Image: Stanza Sensity V@A Decode Show.

Stanza generative coded wall.

March 4th, 2010
Brent Wall Projection example copy

Image: Stanza Wall Projection 2009

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

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

Brent Wall Projection example

Image: Stanza Wall Projection 2009

artwork by stanza….building as art…

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

Stanza Coded Reflex sandblasted onto mirror and hand painted.

March 4th, 2010
stanza

Image: Stanza artwork. Made in 1995 .Six feet diameter across approx .

Image of Stanza artwork.  Made in 1995 …..Six feet diameter across approx .

This work is sandblasted onto  mirror and hand painted.  It back  supported and ready to  hang.  Part of a series of works under the title, ” reflexity”.

See some more:

Stanza real Time Smart City featured at Decode at V & A. Sensing the gallery and the environment to make art.

March 4th, 2010
Stanza_sensity_va-0557

Stanza: Decode at V & A. Sensors all Over The Gallery

Last few days to  see decode at the V & A. London.This is what it looked like in 2008.

Its been quite a success despite the difficulty in keeping my  live sensor network running for a month. Sensing the gallery and the environment to make art. The results are the visualisation and sonification of real time spaces. Using custom made sensors in the V & A Porter gallery and around the city. 20 custom environmental sensors units measure, light, noise, sound, humidity, and temperature….this data is turned into a online real time visualisation of the space.

Stanza Sensors On Google Maps

Stanza Sensors On Google Maps

 

 

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.

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

November 22nd, 2009

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

Using custom made sensors in the V & A Porter gallery and around the city. 20 custom environmental sensors units measure, light, noise, sound, humidity, and temperature….this data is turned into a online real time visualisation of the space.

Stanza’s work “Sensity V & A” uses environmental sensors scattered all over the museum and the city to make visualisation and sonifications. Literally painting with data these works open up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This is used by stanza to make artworks but it is of equal interest to urban designers, city planners, and architects. Stanza’s main point is to question the social political fabric of the landscape around us. This work aim to reclaim the city which is remade as a real time virtualised space belonging to all. The work is interactive, real time and responsive; it is also available online.

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

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

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

Sensity contexts: Data and pervasive media.

February 6th, 2009
stanza

Sensors in The city. Data and pervasive media.

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

Sensity.

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

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

The Emergent City. Online visualizations, the networked city.

November 11th, 2008
stanza city

Stanza City: Generative Software System.

This text is a transcript of one of my talk about my work The Emergent City.

My current work remains focused on the creative use of technology integrated into urban space.My areas of interest include investigating new concepts for the relationship of the physical body, emergent data and real space in the built environment.

As an artist I am trying to create artistic metaphors for new creativity using new technologies and integrating new media artworks into the public domain. As an artist I am trying to create artistic metaphors for new creativity using new technologies and integrating new media artworks into the public domain. There are three strands of my working process; these involve; collecting the data, visualizing the data, and then displaying the data. The outputs from the online interfaces and online visualizations can be realized as real time dynamic artworks as diverse as installations, and real objects, made out of new display materials back in physical space. In all my work I try to exploit the changing dynamics of city life as a source for creativity and create meaningful artistic metaphors. I utilize new technologies and integrate new media artworks into the public domain as part of this ongoing research into the visualization of city space.

In essence I am researching data as a medium for creativity and how meaningful experiences of our cities may result. From a technological peprspective, I am researching sensors , motes, new display technologies and interactive architectures. This research includes investigations into…..Concepts for the relationship of mobile computing within urban space and the built environment.

The Emergent city is to be a group, a body of artworks that I am working on all connected by a central theme. As you know a city is a web of connected networks. In essence, the city fabric is a giant multi-user, multi-data sphere. The city is made up of traffic patterns, pedestrian patterns, bird flocking patterns. Patterns can be seen in the architecture, patterns in the buildings, patterns in the architectural fabric of the urban design network. All of these spheres can be represented by media and therefore by data within the digital realm. And all of this data can be interpreted and mediated. It becomes a matter of choice. Collections of data can be stored to be retrieved later. The mobile data infrastructure becomes a data source so powerful so interwoven that its scale can only be imagined as metaphor. The size and scope of such an archive, of such rich mediated data experience can support many projects. As such it can be interpreted via a variety of interfaces. Cities offer the opportunity for unique types of data gathering experiences via a variety of sources.

My objective is to ‘mediate’ data into conceptual artifacts. With this perspective there are many unimagined threads of data and connections that describe our world that can be explored through wireless mobile networks within which we can create artistic interpretations. There are various types of data can be re-imagined. This includes pollution data recorded via sensors in the street, to create audio files. Weather and forecast data, acquired via weather station equipment, this can be used and can create ambient soundscapes and morphing visualisations as the wind shifts direction or the rain increases. Noise monitor levels, and noise maps, create a symphony of true urban sounds that can be used to make sound reactive sculptures. So under this umbrella of ‘the emergent city’ project I have made a number of works that have move beyond the process of research, beyond what I term as asset gathering, into what might be alpha beta projects. An example of this is my URBAN GENERATION project. I have also made the online database for soundcities which now has 2000 sounds online line in it. So other artists can interface to it. Memory mapping. About traces and memories of urban space. Multiple viewpoints of data cities. 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 specially 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 ID 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. Uses of this information and data should allow rich new interpretations on the way our world is built, used, and designed.

So we need to imagine the city at a different scale. The possibility is to extend our imagination and enable that perception of the city as a dynamic 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 understanding of the bi-products of the system, the data and the resulting information Currently a research fellow at Goldsmiths Digital Studios.

datacity

Datacity: Sensors In The City. Stanza Visualisation.

I am scattering the city with sensors. Hundreds of them, some fixed, and some embedded, to access these data structures and to claim them for the public domain within the realm of social sculptures.I am trying to make smart networks that have data open to all, and not closed off spy surveillance oriented systems. The networks could be thought of as open social sculptures that can inform the world and create new meaningful experiences. Thousands of motes can be deployed across the city for gathering data in wireless sensor networks. Used in large numbers they can communicate with one another via radio signals across the network. They can reconfigure themselves, so that the network stays stable. The data is chanelled through a system to a point where it can then be interpreted. So the concept is to embed the city with thousands of motes to gather data for the creation of artistic artifacts. The motes can monitor sensors such as temperature, sounds, light, position, acceleration, vibration, stress, weight, pressure, humidity, and GPS. Motes and sensor boards can monitor the micro incidents of change in the city, the noise, traffic flows and people flows. The interactions of all this data, controlled via mixed up interfaces that can re-form and re-contextualise experiences in real time as social sculpture. 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 a world full of data that can help understand the fundamentals of our outside environment, and monitor the micro codes of our DNA, 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.

So this is where I am at..scattering thousands sensors across the city and trying to figure this out.Sensity artworks are made from the data that is collected across the urban and environment infrastructure. I have a network of sensors which collects data, which is then published online. The sensors interpret the micro-data of the interactive city. The output from the sensors displays the “emotional” state of the city online and the information will be used to create installations and sculptural artifacts.These artworks represent the movement of people, pollution in the air, the vibrations and sounds of buildings, they are in effect emergent social sculptures visualizing the emotional state of the city. The sensor network can be moved from urban to rural setting and different types of visualization can be made depending on the environment. Sensity is an open social sculpture that informs the world and creates new meaningful experiences. Sensity is also a highly technical project that will give vast amounts of information about the fabric of our cities. By embedding the sensors like this we can re-engage with the urban fabric and enable new artistic metaphors within city space. The sensors are positioned across the city. Custom made software enables these sensors to communicate will one another in a network over a proxy server in real time. The data can also be used to create visualizations in an open source environment. Other online users can also re- interpret the data and interrogate the various sensors in the network as this is open sourced as well (see xml streams)l. Representations of these datasets will allow unique understanding of the urban environment and environment in real time. Motes are used to collect the data.

stanza

Datacity: Sensors In The City. Stanza Visualisation.

The ‘motes’ are tiny wireless sensor boards that gather data and communicate to the central server. The real world is monitored and the data stored in my archive retrieval system. Motes and sensor boards sense the micro incidents of change in the weather, the noise traffic flows and people flows. The interactions of all this data, controlled via interfaces that can re-form and re-contextualize experiences in real time. Sensity incorporates the holistic city system. The sense city is a city of, accumulated incidents of love, abuse and death. The micro incidents of change in the weather, the noise traffic flows and people flows. The archives of this data can be controlled via mixed up interfaces that can re-form and re-contextualize experiences in real time; to make emergent sculptures visualizations and sculptures. Sensity leverages the real time data city and represents it online showing the life of the system and the emerging changing bahaviours of the space. The data is the medium. Future cities will be merged real time connected up data cities. Sensity connects up networks of real time information flows. The results are mashed up cities and real time performative city mashings. The shared data space can overlap and there is a new space the space in between that only two nodes share. The aetheticization of the shared city space. I have merged collected data from various cities. The images below show an integrated architecture the space where the cities overlap and create a new architectural space. Technology. I now have several sensor kits both twenty nodes that can be placed up to 300 meters apart with GPS. I have made two versions of the Sensity interface software. One works with recorded data (ie recorded data) and one that works with the real time data, which means the sensors are switched on always and working through a router. The changing data is what affects what you see and experience. The sensors can monitor temperature, sounds, noise, light, acceleration, vibration, pressure, humidity, and gps. The sensors take a constant stream of data which is published onto an online environment where different interface can make representations of the XML and from this lots of artistic interpretations can be imagined.

Other artworks made:- HOUSE AND GALLERY:

see stanza.co.uk stanza (04 – 08)

ddc

Datacity: Sensors In The City. Stanza Visualisation.

From Fixed Assets to open Systems and Media visualisations.

July 1st, 2008

Stanza. Pervasive Media in The City. 2004

From Fixed Assets to open Systems and Media visualisations.

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

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

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

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

Stanza Generative software map maker.

Stanza Generative software map maker.

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

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

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

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

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

Citysense passively “senses” the most popular places based on actual real-time activity and displays a live heat map.

June 18th, 2008
stanza image

Stanza Artwork. Shanghai 2004.

Here is the sales pitch from citysense. A system for gathering and representing real time city data from San Francisco. A nice idea for a company.
Quoted.
Citysense is an innovative mobile application for local nightlife discovery and social navigation, answering the question, “Where is everybody?”

Citysense shows the overall activity level of the city, top activity hotspots, and places with unexpectedly high activity, all in real-time. Then it links to Yelp and Google to show what venues are operating at those locations. Citysense is a free demonstration of the Macrosense platform that everyone can enjoy.

Instead, it evolves searching to sensing. Citysense passively “senses” the most popular places based on actual real-time activity and displays a live heat map.
Location data is everywhere. Cars, buses, taxis, mobile phones, cameras, and personal navigation devices all beacon their locations thanks to network-connected positioning technologies such as GPS, WiFi and cell tower triangulation. Millions of consumers and businesses use location-enabled devices for finding nearby services, locating friends & family, navigating, asset- and pet-tracking, dispatching, sports, games, and hobbies.

These forces have lowered the cost of technology, ignited interest in location-enabled services, and resulted in the generation of significant amounts of historical and real-time streaming location information. Sense Networks was founded on the idea that these datasets could provide remarkable real-time insight into aggregate human activity trends.

Macrosense employs patent-pending technology to learn from these large-scale patterns of movement, and to identify distinct classes of behaviors in specific contexts, called “tribes.”

Once it’s known which tribes are where, by sampling the distribution of tribes at any given place and time, it’s possible to understand what it means when a user is there at that place and time.

For example: rock clubs and hip-hop clubs each retain distinct tribal distributions. When a user is out at night, Citysense learns their preferred tribe distribution from time spent in these places. When that user visits another city, they see hotspots recommended on the basis of this distribution and combined with overall activity information.

Users who go to rock clubs see rock club hotspots, users who frequent hip-hop clubs see hip-hop hotspots, and those who go to both see both. The question “where is everybody like me right now?” is thus answered for these users – even in a city they’ve never visited before.

Citysense is an application that operates on the Sense Networks Macrosense platform, which analyzes massive amounts of aggregate, anonymous location data in real-time. Macrosense is already being used by business people for things like selecting store locations and understanding retail demand. But we asked ourselves: with all this real-time data, what else could we do for a city? Nightlife enhancement was the obvious answer. This release is just a test, and we’re interested in your feedback on how to make the application better. You’ll find a feedback button in Citysense.

Principles…

People should own their own data
People should have full control over the use of any data that they generate. All data collection should be “opt-in,” and users should be able to easily remove themselves and their data from the system without questions or hassle. The system doesn’t “remember” a user for later, but completely deletes data at the user’s discretion.

People should receive a meaningful benefit in exchange for sharing data
Meaningful benefits include compelling applications to help manage life better, or personalized services based on anonymous learning from “users like me.” People should be able to enjoy the benefits of these services simply in exchange for their data.

We’re looking for additional common good uses of aggregate, anonymous location data. If you would like to submit a project for consideration, please contact us at ….
http://www.citysense.com/home.php

All of the above ref their website.

From my Sensity projects.
Citysense…Sounds like sensity backwards….Various types of data can be re-imagined within the context of city space and the environment. This includes pollution data recorded via sensors in the street, to create audio acoustic files expressing the pain and suffering of the air as it pollutes. Weather and forecast data, acquired via weather station equipment; this can be used and can create ambient soundscapes and morphing visualizations as the wind shifts direction or the rain increases. Noise monitor levels, and noise maps , create a symphony of true urban sounds that can be used to make sound reactive sculptures. 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….
I like their pitch about owning their own data, couldn’t agree more in fact all royalties should be shared. Its not just about privacy its about ownership. Once you enter the grid you body is now externally giving away data and information. Companies are now rushing to harvest this information , ( information services) making new products for mobile devices. I think we are going to see a lot of this.

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

May 28th, 2008

stanza Image

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

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

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

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

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