Title. " Urban Generation; trying to imagine the world from everyone else's perspective, all at once". by Stanza 2002 - 5. This artwork works in real time. It has been online and working since 2004. It is also available as a software and installation for exhibition purposes.
Online Version I (Urban Generation Divided Cities) Online Version II (Urban Generation (Tapestry) Online Version (Urban Generation Inside Pixel Space) Online Version (Test version 2002) (Install shockwave to view online in real time) Exhibition Urban Generation; trying to imagine the world from everyone else's perspective, all at once". by Stanza Multiple CCTV cameras are accessed randomly in real time to make this urban tapestry. What you see is an evolving, generative artwork. These images are from taken from the city of London, and they happen as you see them, in real time. The observed real time surveillance society is re worked into a series of grids. Here the image are remediated into what you see, which is this online artwork that looks like a filmic experience. However its not a film its a real time experience of the city from multiple perspectives. Another Version (Install shockwave to view online in real time) "Divided Worlds" trying to imagine the world from everyone else's perspective, all at once 2004. This dufferent version uses 1000 cameras from around the world in a different larger networks . Touring This work is available for sale and for exhibitions. What can be exhibited is both the screen based online version and the installation version shown below. Funding I would like to make a larger version using over 100 monitors on the floor contact me if interested. ONLINE NETWORKED ARTWORK ................ OFFLINE INSTALLATION OF LIVE DATA SEE VIDEO
Images from the offline installation set up at 20.21 gallery Scunthorpe.
Installation shot taken 2007 in Turku Finland.
Installations shot taken 2007 in Finland.
Stanza Installation shots. Space 4, Peterborough. 19 th Jan - 3rd. March 2006. Exhibitions. Complete list of venues where Urban Generation has been exhibited as an installation. Netherlands Media Art Institute - Montevideo/Time Based Arts Keizersgracht 264 1016 EV Amsterdam. Curated by Susanne Jaschko 2009 Aboa Vetus & Ars Nova Itäinen Rantakatu 4-6 20700, Curated by Andy Best.Turku Finland April 2007 Space 4, Peterborough. 19 th Jan - 3rd. March 2006. The Brindley Arts Centre, Runcorn. 15th April - 13th May 2006. Shrewsbury Museum and Art Gallery . 9Th June - 9th July 2006. Q Arts, Derby. 12th Nov - 18 Dec 2005. 20-21 Visual Arts Centre, Scunthorpe 2005. Also shown in numerous venues worldwide as a projection installation including. SXSW Austin Texas 2009. ---------------------------------------------------------------------------------------------------------------------------------------------------------------- NOTE. SOMETIMES THE CAMERAS IN THIS NETWORK ARE DOWN, IE DUE TO TERRORIST ATTACKS OR TECHNICAL ISSUES SORRY.
Artwork Made at daytime london 11. 11. 2006. 100 - 70 cm signed by Stanza
Artwork Made at daytime london nightime 31. 3. 2005 100 - 70 cm signed by Stanza -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Technology and installation details. The work ideally needs a plynth the size should be 2.45m by 3m by 35 cm. If no plynth its goes on the floor. The size of the shipping crate is. 54 cm by 66cm by 66 cm exact; weight approx 30 kg, contents fragile. Set up time approx four hours plus some assistance at the venue to set up the internet configuration. The work should be insured at the venue and during transit. For availability please contact Stanza at sublime.net ------------------------------------------------------------------------------------------------------------------- About
The text below was commissioned for the Net Reality show and is written by Jo-Anne Green from Turbulence.org Net:Reality: http://www.net-reality.org/ The “net” version of Stanza’s Urban Generation is visually rich and noticeably silent. As twelve live data streams alternately stutter in and out of existence and flow into abstract patterns and textures, the “live” scenes captured in real-time on CCTVs scattered throughout London quickly morph into kaleidoscopic Rorschachs that alter our initial perceptions and demand analysis. A generative work, it calls into question the “urban generation,” a period during which the threat of terrorism has made our environment ripe for surveillance and privacy abuse. Private space has become public space, public space has evolved into covertly “governed” or overtly corporate space. While Stanza is well known for his interactive/participatory art, the “viewer” is forced to passively observe this piece, which simultaneously serves as a call to action. According to the Associated Press [http://www.msnbc.msn.com/id/8501576/; July 7, 2005] “[a]n estimated 4.2 million cameras — largely concentrated in London and other major cities —observe Britons as they go about their daily business, [and] it is widely estimated that the average Briton is caught on various cameras up to 300 times on a normal day.” In the “reality” version of Urban Generation, the innards of a Dell computer, including an inoperable mouse and keyboard (rendering us powerless), are scattered across the surface of a large pedestal above which the gallery visitor must peer down, equating the “seer” with the elevated location of the majority of CCTV cameras. There are eight 15” LCDs, all of which display the “net” section of Urban Generation. Real and virtual, tangible and immaterial, fixed and constantly changing, the mass of wires, switches, circuit boards and LCD screens invokes the notion of the network exposed, turned inside out, laid bare for all to examine. Urban Generation combines interior and exterior, and makes visible that which invisibly and silently tracks our movements, habits, and preferences. It forces us to ask ourselves whether pervasive surveillance is inevitable, and whether it is sufficient to allow these billions of hours of stored data to serve as evidence after the fact rather than prevention.
20-21 Visual Arts Centre, Scunthorpe 2005. Installation NOTE. All images copyright Stanza. Please credit Stanza if you take images and put them on your blog. ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Why CCTV 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 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.... Stanza. 2003.
Live at SXSW 2009 Austin Texas. Set up as installation using three projectors. Needs live internet connection and three computers.
A Day In The Life Of The Urban Generation. 3 metres by 1.6 digital print. Signed By Stanza
Title - "A Day In The Life Of The Urban Generation". 3 metres by 1.6 digital print. (detail of above) "A Day In The Life Of The Urban Generation". (download detail for print of above for catalogues)
"Regeneration Generation " 251cm by 118 cm original artwork on canvas taken from 200 CCTV cameras in 1 day in London. Signed By Stanza 2007
Detail "Regeneration Generation " original artwork on canvas taken from CCTV cameras in 1 day in London ========================================================================= All images and artwork © Copyright Stanza 2002 - 2013 Disclaimer All rights reserved. The copyright for any material published on this web site is reserved. Any duplication or use of objects such as images, diagrams and texts is not permitted without Stanza's written agreement.
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