Supervigilantia. 2011

The artwork depicts a constant and evolving view of the urban landscape and its inhabitants constantly migrating from one point to the next. The observed real time surveillance society is re worked into a series of grids. The artwork is an online networked panoptic vision which collects live CCTV feeds from 200 cameras in USA in real time and reworks these video streams into multi-layered visual structures. The channels are always on, and therefore, the work is always changing. The work comprises of multiple grids that generate real time patterns using live images from all over USA. This is an aesthetic code based generative artwork by Stanza. A series of functions morphs images in an never ending representation of surveillance culture constantly being manipulated by algorithms that change our perspectives.

Exhibition: MozEx: 2016 Curated by the digital learning teams at both the Tate and the V&A. UK

The work is best viewed on a large screen as above.

Link to the online version

You need shockwave installed to see software version and it works best on PC not MAC. (NOTE as of 20.8.2016 the online version now used UK cameras not USA because of a change in technology)

Available. Custom made software system and computer files.

Keywords: Online, net art, system, real time surveilance, art.

"One of Stanzas frequent topics is the ubiquitous growth of surveillance technologies, as in the panopticon addressed by Michel Foucault but later treated more skeptically by Bruno Latour and Emilie Hermant. Another of Stanzas themes is multi-point perspectives, though rather than give this topic the expected relativist spin, he stresses the notion that the varying perspectives amount to parallel realities thereby suggesting that these realities are partly cut off from one another for the same reason that Euclidean parallel lines never make contact. Finally, Stanzas work frequently employs media that utilize real-time interactions between the artwork and its surrounding environment, in ways that sometimes make it difficult to specify exactly where the boundaries of the artwork lie. Lets consider each of these themes in turn."
From The essay Philosophical Issues in the Art of Stanza By Graham Harman.