The Nemesis Machine / The Emergent City

October 30, 2019 No comments »

The Nemesis Machine / The Emergent City has been updated over the summer

http://stanza.co.uk/theemergentcity/index.html

This is the largest and most complex art city the artist has made to date which is custom built for each location.  Each individual customized area reacts to layers of incoming data from a variety of sources which are mixed and reassembled to create a unique hybrid Third Space. This work is growing in its conceptual approaches relating to the way we experience the city and the data that surrounds us and now forms an exhibition in itself.

The artwork is ready to be exhibited and can be shown in different ways and sizes. Several new areas and experiences are in development that support my current research into invisible agency.

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Here is a recent video explaining the artwork.

https://vimeo.com/339299723

STARTS residency

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Invisible Agency. Alternative Visions of Reality. Investigating the ethics of data manipulation and trust in the area known as Internet Of Things across distributed networks to create aesthetic experiences facilitating a new understanding of networked space. Invisible Agency might therefore become an artistic data visualisation interface connecting real time city spaces into a dynamic artwork.

As part of my residency titled Invisible Agency I am trying to harvest data from the (any) city in
real time as part of an idea that the city is a performative data space in which we are all complicity directly interacting. Initially I was looking at smart sensor data and other forms of real time data from smart city networks (and I might come back to this) but because Wavecom (who are my residency hosts) are specialists WIFI integrators I have spent time investigating WIFI signals and their ubiquitous presence in the urban landscape.

Wi-Fi is in everyone’s pocket and we are complicit in its structure and flow by our own mobility
and that of the numerous fixed invisible devices. As the ‘body’ in the ‘data space’ we carry
devices that allow us to connect to the wider networks but implicitly we enter into a dialectic with
all these other devices.

Paintings by Stanza available. 100cm by 100 cm

September 30, 2019 No comments »

Stanza Artwork. Data map. 100cm by 100 cm. Oil on cavas

Stanza Artwork

The Emergent City presented at Goodwood Festival of Speed in the future lab.

July 12, 2019 No comments »

Thanks to Lucy Johnston for  curating The Emergent City at Goodwood Festival of Speed in the future lab. The Emergent city is a spectacular installation using real time data interactions to create a unique responsive connected city installation and interactive experience which is both audio visual and participatory. This is the most complex art city the artist has made to date which is custom built for each location. You see a large spectacular installation made of hundreds of custom electronics parts and computer parts built into a city. Each individual customised area reacts to layers of incoming data from a variety of sources which are mixed and reassembled to create a unique hybrid Third Space. This is an audience engaging multi layered digital experience of the modern world and includes:- overlayering smart city IOT networks which change and affect in real time the lights and motors, so that the whole installation is actually a hugely impactful responsive smart city data visualisation. There are screens showing the data sets and real time feeds from the connected networks of mesh sensors. There are several towers which are customised to show live surveillance and camera feeds of people inside the space as well as another software showing the wider context of networked surveillance from 300 cameras in London. There is an extended sound layer of global city sounds which is created into a unique connected city interface merging sounds and maps from over fifty world’s cities and traversing the globe and this can augment the whole experience by playing these sounds in a network also built into the installation. Additional and optional news and stock exchange data can be presented into the installation. Other layered systems in development include a unique phone  APP called Velocity that allows the installation to track people walking which then visualises this data and incorporates this into The Emergent City while demonstrating the possibilities of shared open and collaborative data in an ethical and responsible way.

Stanza Artwork

Stanza Artwork

Stanza Artwork

THE ‘DISTRICTS’ OF THE EMERGENT CITY. Authenticity – SoundcitiesDiversityElectricity – Toxicity – Omnicity – Publicity – Simplicity – UniversityMultiplicity – Velocity – Capacity

Authenticity (The Nemesis Machine)

Internet of Things (IoT) mesh sensor networks – draw in real-time environmental data activity, which is merged together to represent a world full of data that Stanza calls The Third Space. The sensors include light, temperature, noise, sound and humidity.

Soundcities

A complex artwork in itself, for 20 years Stanza has been collecting city sounds from all over the world, stored in a constantly generating map platform. Explore thousands of these recorded sounds of urban environments through a bespoke audio-visual interface built inside this cityscape.

Diversity

A network of small screens and micro cameras capture the visiting audience insidethe space and around the installation in real-time, embedding this visual information back into the artwork to involve us all as temporary participants or citizens engaging with the city.

Electricity

Embedded WiFi beacons scan all the network activity in the locality. This data is visualised as a stream of numbers inside the experience, to represent the complex networks that a city is built on and with which we all interact. We are all connected in this way.

Toxicity

Two separate local sensor networks use hardwired sensors to measure air quality and pollution. These include NO2, CO2, O2 and alcohol. These are the type of general air pollution and car pollution sensors used for urban air quality measurement.

Omnicity

Screens embedded into the cityscape stream live traffic camera and vehicle imagery from the London road network. Bespoke software re-works this information and adds an additional visual layer, creating a generative data visualisation of real-time city data.

Publicity

Images from online news and information sources are constantly fed to screens. These information streams are presented as a fast-flowing visual experience, reflecting our saturated, 24/7 experience of media data.

Simplicity

A representation of published transit data from Transport for London, which shows the rapid adoption payment gateways inside the city in this case across the capital.

University

Embracing a site as a ‘temporary city’, a custom data visualisation visualises anonymised data taken from the Festival of Speed showing the collective flow of 80,000 representative visitors – temporary citizens – around the festival site.

Multiplicity

The projected animation across the cityscape grid is a generative software system inspired by traffic motion and open transport systems, which demonstrates the speed and agency of movement through a city.

 

The Binary Graffiti Club in Wales For Diffusion Festival

April 30, 2019 No comments »

The Binary Graffiti Club Choir

The Binary Graffiti Club Choir

 

 

 

 

 

 

 

 

 

 

 

A vocal performance based around a series of statements, gathered from the public, that have been translated into binary code. Got something you want to say? Feeling like your voice isn’t heard? Check pout the videos showing several of the even ts including pop ups, improvisations in the street and the opening of Cynetart festival Dresden and the opening of Diffusion Festival in Wales among others. Thanks to Laura Bradshaw: Cardiff Canton Singers, Newport Mind Singers, Oasis World Choir, Chapter Singers In Wales. Thanks to Diffusion for production in Wales. http://thebinarygraffiticlub.com/choir.html

Contact me if you want to arrange for The Binary Graffiti Choir perform at your event. It sounds great with a professional choir however with community choirs the project takes shape as a public engagement project and workshops. It becomes fun when improvised with members of the public in situ.

Obituary. My Net Art Condition .

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Obituary. My Net Art Condition. A generation has passed since I started making netart in 1994. Therefore some news: From 9th April 2019 most of my online net art pieces will be obsolete. Shockwave technology under most OS windows and all browsers is officially dead.

I will be changing my links and online netart work to show screenshots or videos in due course, they will no longer be supported in a online net art context and I am aware of the need for it to be archived. I knew this was coming for a while. These works can now be shown for exhibitions in a local environment and networked just not online. Many of them will be available as exe software, and many have been available as touch screens editions.

My desire in 1995 was that netart to be a new medium for a new cultural exchange that work online across borders and networks for everyone. I find the current cross browser /mobile platforms too much to contend with although many of my newer works have shifted to use more suitable technologies.  For 20 years I always restricted and focused making online works that could be seen outside the gallery space and in this wider parameter. Using shockwave these netart pieces became generative systems often networked and often using real time surveillance, webcam, data feeds, or news feeds and this was largely enabled and facilitated by one technology shockwave. Shockwave was more sophisticated and it enabled so many more possibilities than HTML or Javascript could. I created artworks that could now being described as data experiences where the machine is doing the creative work. Back then using code to scrape google search terms or live news feeds (2002) and merge these images into newly created art systems would have been labelled re-mediated media art experiences. For example using all the images in The National Gallery and mixing them all up at once to create an online net artwork that makes make more artworks (2006). The sort of things we are now seeing presented as a machine that artificially creates (AI). The technology is once again framing the art context.

Google was adverse to shockwave (security flaws) and Rhizome somehow overlooks the technology as parts of the netart condition / anthology.  Google now presents my websites to the world a website “not friendly for mobile” and “this website is not secure”. Its constantly fighting one machine or another.

The overriding fact that many projects were exported globally and won many awards are now not only removed from the online environment and public engagement for which they were intended.  For example Rhizome /Google means they have not been included in the Net Art Anthology I am thinking about The Central City 1996 – 2001 and Urban Generation 2004 as two example or my DNA sequencing project from 2004 also made as a dedicated netartwork. This interpretation of Netart via this Rhizome /Google platform make this work obsolete from a number of perspectives. At this stage as the coffin gets lowered all I can do is celebrate 25 years. Anyway shockwave bye bye it was fun while it lasted.  25 years was a good run.

Stanza  April 20th 2019

 

 

 

 

 

 

 

 

 

 

 

 

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Time Past Time Present Time Future

February 8, 2019 No comments »

Three Stanza paintings on show in Italy as past of PHANTOMOLOGY at Das Cubo. All Oil on Canvas size 90cm by  120 cm.

Stanza data paintings

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FANTOMOLOGIA. Dal micro al macro

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The project “PHANTOMOLOGY. From micro to macro to reality phenomena” curated by Marco Mancuso, Daniela Tozzi and Ilaria Bignotti, presented by CUBO – follows two different lines of action.

On the one hand, it suggests a possible evolution of CUBO artistic proposal by carrying on its research of the last years and inducing a deeper analysis on the relationship among technology, scientific investigation and identity between human beings and their surrounding environment. On the other hand, it deconstructs the classical display modes of contemporary art and narration of New Media Art by fluidly moving among installation elements, performative feedbacks and theoretical and dialogical apparatuses. CUBO and Unipol spaces (the Art Space, the auditorium, the multimedia library) are thus transformed by the “PHANTOMOLOGY” project into a constantly changing narrative paradigm. They become a delocalized place where the public is asked to reflect on the power of technological changes and on the impact they have from the artistic as well as from the social, cultural and political points of view, thus investigating both the expressive power of nature and its intrinsic capacity of modelling and of aesthetic and formal composition.

THE TECHNOLOGICAL ENVIRONMENT

The era we are experiencing, characterized by a constant and increasingly rapid technological and scientific development, involves on the one hand strong enthusiasm and curiosity towards a future that appears generous in the utopian conception of what we consider progress and well being, and on the other hand a gradual awareness and redefinition of the centrality of our role in relation to the other, to the different, to what exists out of us. In fact, contemporary human beings are dominated by a constant flow of data and information indiscriminately produced by machines, services, artefacts and other living things; a series of ephemeral and invisible “objects” that we partly produce and partly collect, allowing us to build and shape forms of relationships with the world around us.

The Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis on display at CUBO Art Space is one of the most iconic works by the British artist STANZA, since the Mid-eighties a pioneer and experimenter of the complex relationship among man, technology and space declined in its different personal, relational and architectural forms. The artwork is a complex and surprising scale representation of a virtual city, whose formal elements are composed of circuits and electronic components, while the lighting is made of LEDs and indicators that monitor in real time information flows, connections and public data networks of the real city around them. A miniaturized synecdoche reproducing the dynamics that characterize, for better or for worse, our daily lives. A transparent membrane that connects CUBO with the city of Bologna, which lives and breathes beyond the large window facing the installation and from which The Nemesis Machine attracts the attention of the visitors, who in turn become part of the artwork as soon as their movements in the exhibition space are monitored and reproduced by a sensor system on a series of small screens. A reminder of Michel Foucault’s statement: “Se forme alors une politique des coercitions qui sont un travail sur le corps, une manipulation calculée de ses éléments, de ses gestes, de ses comportements” [it now takes shape a policy of coercion that is a work on the body, a calculated manipulation of its elements, its gestures, its behaviours]”1 as well as of the evident privacy implications related to those same surveillance technologies and “intelligent automation” to which we have delegated our anxieties of space “protection” against what is “different” and “unknown”. In fact, as Étienne de La Boétie recalls, “Ce maître n’a pourtant que deux yeux, deux mains, un corps, et rien de plus que n’a le dernier des habitants du nombre infini de nos villes. Ce qu’il a de plus, ce sont les moyens que vous lui fournissez pour vous détruire. D’où tire-t-il tous ces yeux qui vous épient, si ce n’est de vous?  [This master who so dominates you has only two eyes, two hands, a body, he has nothing more than the less important man of the immense and infinite number of our cities, if not the superiority that you attribute to destroy them. Where have you taken so many eyes, with whom I spy on you, if you do not offer them to you?]”2

The Nemesis Machine by Stanza

 

 

STANZA’s artistic research focuses on the critical and social analysis of the vital participative systems that characterize contemporary cities, formalizing his work in a series of artworks that, by exploring adjoining disciplinary areas such as Net Art and Interactive Art, aim to trigger dialogues and conversations on urban, technological and social space policies. In his actions and installations, STANZA offers the public the classic archetype of the metropolis as a technological and biological organism, based in both cases on a system of constant and frenetic relationships that make up its lifeblood, thus avoiding the risk of an excessive trivialization or of a distorted reading of his work thanks to the rigorous visual vocabulary and the surprising ability to trigger a dialogue between artwork and public made of curiosity, exploration, reflection, fun and participation.

Text By by Marco Mancuso

The Nemesis Machine by Stanza

Stanza Artwork

The Nemesis Machine in Italy

January 12, 2019 No comments »

The Nemesis Machine at  CUBO Italy which opens on 31 st JAN. The show is curated by the awesome Marco Mancuso who for years has been supporting new media and technology arts from his base in Milan. The Nemesis Machine is one of those artworks where the only constant thing seems to be the title however I have used other titles so that is also a variable in this ever changing evolving art system.

The Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis

The title is in two parts: “The Nemesis Machine” with the additional  “From Metropolis to Megalopolis to Ecumenopolis”. The installation has become an evolving artwork. Whilst growing in physical size, the technology is also developing to reflect changes in our relationship with the digitised world, new technology and our algorithmic society.

The artwork focuses our attention on the worlds of technology, surveillance, and networked space:- that could be called panoptic and embeds several contextualised panoptic aesthetics (data from sensors, people from cameras). My title “From Metropolis to Megalopolis to Ecumenopolis” expresses this growth from a small city, to a large city, to the ecumenopolis which is a term for the whole world as a city. The inference is that this system of technology is all encompassing all seeing and all powerful.

The title “Nemesis” also suggests a portrayal of either utopian or dystopian futures inferring, “the inescapable agent of someone’s or something’s downfall”. As such the Nemesis itself is positioned to cause concern as a situation or event, which causes serious harm, or even as a form of punishment. The word Nemesis originally meant the distributor of fortune, neither good nor bad, simply in due proportion to each according to what was deserved. Nemesis was sometimes called “Adrasteia“, probably meaning “one from whom there is no escape”. This is how the artwork positions itself as neither one or the other, but simply to engage the viewer or its audience inside this inescapable agency.

The Nemesis Machine fuses analogue and digital worlds by using real time data feeds that connects to the physical city to create an avatar city while at the same time making it global through the flows of networked data across the internet. The city machine become alive and of itself. This parsing of real time data systems becomes a critique of liquid surveillance networks that a whole city can be seen all at once from a variety of perspective lenses. The machine is both acting to liberate us through technology with overtures to open processes, while at the same time making us complicit in its restrictive system of control.  We have by default become complicit in the global surveillance machine that appropriates us (the users) as units of data to be harvested for some sort of gain (either financial, social). This has been a consuming theme in several of my artworks since 2004. The Nemesis Machine focuses on the aspect of the so called smart city as a space for the parsing of (any /all) data. So how can you make meaning of this liquidity? and how can it be of any common benefit? Or will it be at the expense of something else? as perspective shifts ground.

A new custom version of the artwork is installed every time for this ever expanding an variable artwork.  During many set ups and global exhibitions, The Nemesis Machine serves as a frame or lens to witness this process.

The Nemesis Machine. Artwork By Stanza. Smart city.

Youth Culture. Sculpture available for touring.

January 11, 2019 No comments »

I had a great time in Manchester at Lightwaves 2018 Media City Manchester UK. I  showed my  new artwork which is of a towering  hooded sculpture which visualises visitor data it receives on mini screens and light illumination built into the sculpture. The tall figure, who’s hoodie challenges our assumptions about social alienation – captivating its audience and challenging visitors perceptions around anti-social behaviour and our collective ability to create safe public spaces for all. This Hooded Youth is presented as a symbol of belonging, rather than something to be feared. Digitally interactive, the artwork embraces public participation and encourages engagement with its technological system, which feeds in intelligence so that Youth Culture becomes a symbolic memory bank of place and experience. https://stanza.co.uk/youth_culture/index.html

Whats Next.

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Last year I was looking forward to a first one man show in New York City before the gallery had a major fire. That would have been ok had the 50 boxes of work not already docked at USA port authorities. Tough being an artist when this sort of thing happens.  Maybe someone will show The Nemesis Machine in USA in the future or maybe I will get to work  with that curator I so  very much admire in another year. It wont be this year.

Whats next I am about to ship Nemesis Machine to CUBO Italy I would tell you more but that is all I know for know except it starts on 1 Feb.

I am also looking forward to working with David Drake and show at Diffusion in Wales. A new AI camera track system is now inside the machine as well as reconfigured sensors for city wide data gathering.

Stanza Artwork

2019 All work and much play and something else as well.

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Welcome 2019. ON a personal; level that was a tough year (just past), and I learn’t a lot through the adversity of it all.  This was only really possible because of the support of many friends who rallied to the call and really did help when needed and when asked; thank you. No pain no gain. Well the gains have been immense insightful and enlightening. Much love you to you all for 2019. Thanks also to the NHS and the support systems we have in place here in the UK. Accidents happen all the time but when they come to visit the impact becomes immense.

 

New Commission at The Lowry for Quays Culture

November 27, 2018 No comments »

Youth Culture By Stanza. The sculpture shows a strong hooded youth through which collected data and information flows. A towering beautiful hooded sculpture; Youth Culture visualises visitor data it receives on mini screens and light illumination built into the sculpture. Thanks for all the help:-  Pillow Space Frame and I and A.  See the website for some videos. https://stanza.co.uk/youth_culture/index.html

Stanza wins prize at CYNETART in Dresden

October 18, 2018 No comments »

The Nemesis Machine wins prize at CYNETART in Dresden. This ever evolving artwork, always different and always expanding. It has become a multi layered installation incorporating concepts of data ownership, surveillance, real time space, urban environments as well as systems based metaphors for interactive and generative spaces.  It is always different for each installed set up and is an evolving artwork. In the gallery the work can be shaped formally on the floor or also grow into different spaces. The parts of the city act as a frame for the different expression of data and information. The artwork responds to wireless sensor network and “visualizes” the environment all around us as ‘worlds’ full of data across the internet.. In essence the artwork is a smart city a hybrid internet of things (IOT) installation responding in real time and operates critically between utopian optimism and dystopian dis-function.

Summer of ….fires , accidents, guns and roses…

October 2, 2018 No comments »

Finally getting back on my feet after the summer of ….er  moving on. Slovenia was the go to place for a bit of hard work and sunshine at the Speculum Artrium Decades Trbovlje Slovenia 2018  a great  event and a smaller version of Nemesis Machine. Artificial life has become an important field of scientific research, the basic foundation of which is the use of computer systems for creating life simulations and the principles of inorganic organisms. The question arises about what it means to be an active entity involved in the relationship between biological and artificial, between real and virtual. Artificial, virtual forms of life are by all standards living entities created through co-operation between nature, homo sapiens and machines. One of the definitions of the art of the 21st century is defined as “Machine of all machines”, ie Machine, creator and producer of other living artificial entities.

I am off to  Cynetart Dresden Germany 2018 , and will also  perform the Binary  Graffiti Club Choir. CYNETART is known for the presentation of international art positions in new media. A programme of concerts, performances and lectures is part of the festival as well as the biennial CYNETART I have been before in 2000  so I  am looking forward to the return.

Thanks to Jack Addis and Lumen for this exhibition and what  a great venue. Measures Of Life at  Humber Street Gallery. Measures of Life. Lumen. Hull UK .  “Measures of Life” an exhibition that questions time and space and the elements that define how we perceive reality.In our hyper-connected world, new realities become malleable and flexible offering more possibilities than ever before. ::vtol:: (RU), Stanza (UK), Molly Soda (US) Nicole Ruggiero (US), Refrakt (DE). I had a great few days setting up and it was a pleasure to be there.

Thanks to Ghislaine Boddington for curating the Nesta Future Festival at Tobacco Dock London UK. It was a great event and some very  interesting speakers.Vivienne Westwood, Nicola Sturgeon, Annie Mac, Akala, Ruby Wax OBE, Brian Eno, Paul Mason and Imogen Heap and I  presented some artworks in among the bodies.

Exhibitions. 2018

May 28, 2018 No comments »

I have been busy and not had a chance to post but there are some special events coming. I have a  solo show in New York City Kellen Gallery at Parsons The New School USA 2018 curated by Christiane Paul…..for July – August  ….. and  selected artwork are being featured at the Nesta Future Festival in London. On top of that Lumen are presenting my installation at Humber Street galleries in Hull  and I  am scheduled to go to Slovenia and Romania to install during September. Dates and more info to come.