The images you see on the screen are images coming from networked cameras located around USA in real time. The computer manipulates the real time experiences and life of America as it unfolds. The city and its population are all actors in this real time parallel reality of surveillance and control unleased across the network of the internet. The artwork offer an alternative reality, a multi point perspective of time and space creating this new aesthetic experience manipulated by the machine across the nerwork to give an alternative meaning. This artwork is one of a series of artworks connecting networks and ideas of global surveillance in everyday life while trying to reclaim this space back into the public domain. Made in 2005
You can watch the three videos below or at bottom of page which are of the live online net-artworks; or view online you need to click and have shockwave installed.
Title 'America Is Bleeding; Trying to Imagine Your Conscience From A Global Perspectives, All At Once'
Title.'America Is Bleeding; The End Of Dreams.'
Availability: This is an online generative artwork. It can be viewed online and can also be shown in a gallery.
Original artwork. Custom software. Computer files. Can be shown on large LCD screens in galleries.
Exhibitions Of This artwork:
Watermans Art Centre. London. A-Life In The Emergent City. 2013
A Look Inside Surveillance De Markten Brussels. Belgium 2013
Future Places. Exhibition. Porto Portugal. 2010
City Of Dreams, Lanternhouse International, Ulverston 2010
Mundo Urbano. Madrid. 2006
PEAM. Pescara. Italy. 2006
Digital Media Centre South Hill Park Bracknell 2006
HTTP Gallery London. 2005
Artsdepot. London 2005
From Charlie Gere:- Stanza's work not only performs the way in which non-human actants now appear to talk to each other, especially in relation to the so-called ‘internet of things', but moreover how these conversations take place in literal black boxes, in other words the computers and networks whose operation is both largely hidden from us, and at the same time vital for our everyday existence. But this must not be seen merely as a comment on network technologies. Rather it should be understood as reflecting a more complex and widespread aspect of our existence, in short the degree to which we can now recognize that everything can and does communicate everything else. Much of this communication is not easily available to human subjects. Thus the opacity of Stanza's and other new media work can be understood as the most profound artistic response to both our current mediated condition and to the new ontologies and philosophies it has engendered. "