Archive for the ‘emergent city’ Category

On TV and online

March 22nd, 2022

Some recent TV appearances on national TV stations in Finland and France.

Stanza In France at La Filature

Nemesis Machine France

Living Landscapes in Finland

Living Landscapes in Finland at Jarvenpaa Art Museum Finland (from 14.97 –>)

The Reader and Art for The Future. Interview with Olga Sviblova

The Reader standing in front of Refik Anadol at MAMM

Artist in Residence at La Filature

March 22nd, 2022

I am currently in Mulhouse at La Filature where I have installed The Nemesis Machine as part of my artist in residency there. Here is a video.

This city governs itself and its actions, and the intelligence is completely controlled by the data interactions of the system. The different ‘districts’ of the artwork act as a frame for the different expressions of data which in effect make up a connected city. Include facial recognition, local sensors, IoT smart city networks, surveillance cameras, a news feed, Twitter feed, wifi scanning and machine learning tracking change in global pollution data…thanks to the team at la filature for help setting up. Utopian or dystopian?

The installation evolved with a path down the middle for the audience.

The Nemesis Machine

And here is a link to the video made of the installation in Mulhouse.

News for the end of the year 2021

February 1st, 2022

Wow that was a year. I was in Finland in September at the Jarvepaa Art Museum for my exhibition Living Landscapes.

These artworks raise several questions about the fluid liquid real-time data space that now surrounds and envelops us everywhere. Who owns the data, who does this space belong to? Selected artwork uses Artificial Intelligence (AI) and Machine Learning (ML) to investigate global pollution data while others monitor WIFI activity in the city. I then went to France with the large version of The Nemesis Machine which was shown in Paris at 101 for the Biennale Nemo. I made another version of The Nemesis Machine which was part of my artist in residence at La Filature (Artist in Residence at La Filature, Scene Nationale Mulhouse France 2021) and this version was moved to Russia shown also at The Museum Of Cryptography in Moscow. While in Russia I also exhibited the Reader at the museum of Multi Media.

Maquina loca @Canal Connect Madrid

April 16th, 2021
The Nemesis Machine
The Nemesis Machine
A unique, site-specific data sculpture exploring the future of connected cities which has become a responsive real time art installation illuminating global data connectivity and collaborative possibilities. The installation which the audience experiences is a multi-layered expression of a technology based future focused on big data, privacy, liquid surveillance, the ethics of open data control and the use of information systems and sources in a responsible way.


January 12th, 2021

Stanza has had his residency extended at NTNU Norway which exploring how to connect data streams from ‘Smart Cities’ while speculating on ideas for merging various type of data using AI and ML learning to create new artistic scenarios. The thrust of these artistic experiments aims to show what happens when the public are allowed to make their own mixes and visualisations with the data, reclaiming ownership and representing data in new and different ways.

Steve Tanza, Visualisation with data

Artists Talks.The Emergent City. Artistic explorations of the control and the ethics of data.

November 17th, 2020

A series of my artists talks.

1: NTNU ARTISTIC RESEARCH WEEK NORWAY. 12 October 2020 11:00 – 15:00.

2: MFT LABS Portugal 2020 15 October 2020 9:00pm

3: Monash University Tuesday 10th November, 6.30pm-8.00pm (this will be 7.30am-9.00am GMT – early start!) With Prof Jon McCormack physicist Nina Rajcic and Alon Ilsar.

4: UNESCO 12 December 2020. Keynote speech. Then separate panel discussion with Derek Woodgate of The Futures Lab. This will include: Brian Margerko, Director, The Expressive Machinery Lab at Georgia Tech Elizabeth Strickler, Prof. Creative Media Industries Institute.  Nevena Ackovska.    Assistant Professor  Faculty of Computer Science and engineering. 

The Emergent City. Artistic explorations of the control and the ethics of data.

The landscape Stanza focuses on has become an observable connection of the monitored network of real time information flows, and the artworks created reflect this. The technologies incorporated in his digital artworks can include, custom made sensors, networked cameras, robotics, and computers.

Stanza presents a series of digital artworks using real-time data systems, surveillance systems and smart cities city (IoT)  technologies. It is the spaces we inhabit, the landscape, the city, and the world that are ultimately being networked with technology that can parse data informing us where we are and what is happening in the environment at any given point in time. The artworks represent the real-time conditions of the city allowing critical reflection of the real-time city thus creating a dialectic about the social and political undercurrents embedded by unfolding the real-time city through analysis of data and information.

Underpinning these artworks are a whole series of potential problems about observation, surveillance, and the ethics of the control space (controlled by machines). By researching surveillance systems, tracking software, sensors networks as a practitioner at any given time, the artistic outputs created demonstrate a concurrent understanding about the social and ethical implications of such technologies, both in artworks as well as public domain space.

Steve Tanza.
Stanza presents a series of digital artworks using real-time data systems, surveillance systems and smart cities city (IoT)  technologies.

Soundcities gets an update.

August 17th, 2020

Soundcities ( has been updated with new navigation, embedded panoramas, and streetview and a number of new cities have been added. The soundmaps and the database can be listened to online or played on mobiles. The whole system can be used in performances, as a concert. Festivals, schools and media organisations can arrange workshops. Get in touch. You can contribute to the project by submitting your sounds.

Soundcities was the first online open source database of global city sounds and soundmaps, using found sounds and field recording. There are now thousands of sounds from around the world on the website. This project allows the audience the possibility to remix the thousands of sampled recordings in an online database. The sounds can be listened to, used in performances, or played on mobiles via wireless networks. The soundcities database is also open so anyone can upload sounds they collect from world cities, thereby making a valuable and collaborative contribution to the project and helping to make this online sound archive.

It would be great if you would submit sounds to the Soundcities project, wherever you are based in the world. Soundcities now has thousands of sounds from hundreds of contributors including field recordists, musicians, and artists across the globe. Sounds have been submitted from all parts of the world from central London to Montevideo. The sounds you submit take any form, streets sounds, talking to people, the sounds of industry, ambient sounds and bird sounds. Contributions can be made from the submit page automatically. Soundcities is an ongoing work, so there is no deadline for submissions.

The project is available for exhibition, workshops and live performance. It is suitable for live concerts and media festivals and art galleries. In addition a new digital sound art installation uses 170 speakers in a spatialised audio system of global sounds see here.

London Lockdown.

August 17th, 2020

London Lockdown, sounds like a Clash song. Covid 19 has everyone in London stuck at home for weeks and the streets are very very quiet. Using the CCTV and webcam networks of 400 online cameras it’s possible to be a surveillance flaneur wandering the empty streets through the networked online cameras that usually track us but now just point at empty streets.

A single screenshot from London Lockdown. 6.4.2020

I have been spending some time revisiting some of my software artwork circa (2002) that linked all these cameras together artworks like Urban Generation and I (while bored recently) made a day in the life of the empty street of London. A Covid portrait of the city of London.

This artwork is created taking images from hundreds of live CCTV cameras.

It can be printed up large for exhibitions…and its now part of my ongoing body of work called parallel realities. For other like this see…

LONDON Lockdown. Covid artwork. From day to night 6 April 2020. Surveillance in the empty city.
LONDON Lockdown. Covid artwork. From day to night 6 April 2020.

COVID tracking app. Surveillance and control

June 23rd, 2020

Since the Uk government are dragging their heels on a decent tracking app for Covid 19 I thought I would share my new tracking app for large crowds festivals and of course Covid. If the government want to test it out get in touch. The APP tracks people in the city, in the park or at home as individuals and this data collected. The data is then represented as a morphed collective group entity, a visual collage of where we have all been and what we have been looking at. Participants are monitored by the system and the collected data is used to visualise them through the online visualisation which can also be shown at home, in the city, or gallery. While the system can be used to track individuals the result is like a collaborative collage of all data collected. What you experience is a real time artwork as an interconnected system.

Here is the project link

Velocity: Landscapes of Collaborative Entanglement.

Stanza Tracking app for large groups

New York New York Maybe next year….

June 23rd, 2020

I really should be in New York setting up my installation The Nemesis Machine my solo show in the USA. The exhibition is an art system city machine relating to intelligence and the smart city and comments on issues of surveillance and privacy has been quite a few years of planning. Curated by Christiane Paul it was to be installed in the 3000 sq ft Kellen Gallery at the The New School. Anyway just to let you know the show is cancelled as Covid has also infected the arts and like many other artists quite a few of my exhibitions have all been cancelled. The irony here is that this is the second time this planned exhibition has been culled. Two years ago I even shipped the work to New York (forty boxes) only then to be informed the gallery wasn’t t ready yet after a recent fire. So New York twice over, it will have to wait, maybe third time lucky, so see you next year. For now here is a picture of the installation The Nemesis Machine shown featured in the Future lab at the Goodwood Festival of Speed, or read up on the installation.

Stanza Artwork. The Nemesis Machine shown featured in the Future lab at the Goodwood Festival of Speed

Salisbury Cathedral celebrates 800 years with art exhibition

June 22nd, 2020

Three years in the planning, Celebrating 800 years of Spirit and Endeavour brings together work from some of the most important and influential contemporary artists of the 20th and 21st century, including Antony Gormley, Shirazeh Houshiary, Henry Moore, Grayson Perry, Eduardo Paolozzi, Lynn Chadwick, Tony Cragg, Martin Creed  Conrad Shawcross, Stanza and Mark Wallinger. It was a significant commitment on the part of the Cathedral for its anniversary year. The actual exhibition Celebrating 800 years of Spirit and Endeavor was originally part of Salisbury 2020 City on the move, a year of events and activities planned to celebrate the Cathedral’s move from Old Sarum and its foundation on the present site. Sadly, many of those events have had to be deferred or cancelled but plans are underway to move some of that activity online. The first challenge was to mount an exhibition that embodies the spirit, ambition, faith and endeavour that brought about that move and the construction of this magnificent Cathedral. Her second was to imbue the online exhibition tour with as much of the awe and wonder that the original exhibition evokes. Curated by Jacquiline Creswell. The shows runs until November 2020 and a catalogue is in production.

The Reader By Stanza

The Reader is a large six foot data visualization sculpture of the artist Stanza wearing a hoodie reading a book and poses a series of questions…. What will happen in the future when embedded chips in our bodies have access to the world’s information data and knowledge? Who will have access to this world of data and how will you know who does? What happens when AI and machine intelligence becomes part of our human fabric?

STARTS Residencies Days Private Opening on Friday Feb 28, from 6pm to 10pm.

March 3rd, 2020

Currently In Paris for the The STARTS Residencies Days which will take place at CENTQUATRE Paris, France. Its a showcase of 3 years of art, technology and science collaborations involving more than 100 artists, scientists and engineers

This final event of the European STARTS Residencies programme presents in multiple forms an experiment at an unprecedented scale: how can art contribute to technological innovation? 45 artists have been selected to produce a work in close collaboration with a research project or an innovative company. Taking advantage of some of the most advanced technologies, art creates a bridge with humans and society by offering a sensitive, participatory and critical experience.

The artwork Invisible Agency raises several questions about the fluid liquid real time data space that now surrounds and envelops us everywhere. Who owns the data, who does this space belongs to? What is the future of this technologically stacked interlocking mediated environment?

Size 120 by 100 cm. Hangs on wall. Self contained. Mixed media. Oil, Canvas, Electronics, Cables, Leds, Screens, Software.

Stanza Invisible Agency

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

July 12th, 2019

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.


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.


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.


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.


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.


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.


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.


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.


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.


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 30th, 2019

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.

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 .

April 30th, 2019















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














Time Past Time Present Time Future

February 8th, 2019

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

Stanza Artwork