Archive for the ‘architecture’ Category

The London Based artist Stanza will be giving the keynote at Calculative Devices in the Digital Age Durham University

August 8th, 2013

The London Based artist Stanza will be giving the keynote at Calculative Devices in the Digital Age Durham University

Conference Durham University, 21-22 November 2013

Others Keynote Speakers Professor Pat O’Malley (Sydney), Professor Marieke de Goede (Amsterdam) & Professor Rita Raley (UCSB).

Calculative Devices in the Digital Age Durham University

The conference will be oriented to the following key themes:

•Data and calculation  – algorithms and algorithmic logics

•Associative life – ‘real’ and digital identities and social relations

•Data, analytics and decision-making – applications, interfaces, protocols

•Calculating futures – uncertainty, prediction and potentiality

The Securing against Future Events project is organizing a two day conference on the forms and techniques of calculation that emerge with digital computation.

How does the drive to make sense of, and productively use, large amounts of diverse data, inform the development of new calculative devices, logics and techniques?

How do these devices, logics and techniques – from neural networks to decision trees, from Monte Carlo method to traversal algorithms, from text analytics to data visualisation – affect our capacity to decide and act?

In a world of changing data landscapes, how do mundane elements of our physical and virtual existence become data to be analysed and rearranged in complex ensembles of people and things? In what ways are conventional notions of public and private, individual and population, certainty and probability, rule and exception transformed and what are the consequences of these transformations?

How does the search for ‘hidden’ connections and patterns using association rules, correlation rules or link analysis, change our understanding of social relations and associative life?

Do contemporary modes of calculation, based on constant incorporation of heterogeneous elements, produce new thresholds of calculability and computability, allowing for the improbable or the merely possible to be embraced and acted upon?

As contemporary approaches to governing uncertain futures seek to anticipate the yet unknown event – in domains as diverse as marketing and insurance, emergency preparedness and counter-terrorism – how are calculation and decision engaged anew?

http://www.dur.ac.uk/geography/news/futureevents/?eventno=16518

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Stanza Metal Cities at Flux Jewellery School.

March 9th, 2013

Stanza has been hand making over one hundred hand crafted metal cities at Flux Jewellery School.

I have been attending this jewellery course where I am learning  some skills of the old analogue metal trade at Flux Studios Jewellery School. Its a great space with loads of courses. I  attended the intermediate course and they  let me get on with my own work.  So far I  have made one hundred individual hand made cities called The City Of Dreams . There is no digital process involved, each city is based on simple codes and rules. They are approx 12cm across.

These analogue cities are deliberately made to appear like they are made by some computational digital process.  Each is like a 3d drawing, the metal used is pewter.

Artist. Stanza. 100 Cities. Individual hand made artwork and no digital process is involved. Flux Jewellery School. Learn Jewellery.

At Flux Jewellery School  they  cater for levels and allow students to develop their skills into the set projects. The courses also explore new ways to work and design with metal. Check out and learn to make jewellery yourself  http://www.fluxstudios.org/courses/

Stanza city artwork

British artist Stanza wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city.

November 1st, 2012
The British artist Stanza  wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city. This artwork captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. Its an artwork about the internet of things, smart cities and connecting spaces.
British artist Stanza In Italy

Jury Statement

What is the role of art today, in this moment of social transition towards the city of the future? It was from this perspective that the artists interpreted the theme Open Your City, exploring the key concepts word by word. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, the information and the database, a real, but dematerialized city. Artists have been short-listed by an international jury, consisting of Simona Lodi, Carlo Ratti, Bruce Sterling and Mirjam Struppek, on the basis of the artistic value of their work and its relevance to the Share Prize theme.

Capacities: Real Time Complex – Connected Cities by British artist Stanza is an installation dedicated to the complexity of life in an environment. Changes in each of the spaces are monitored in real time, as they give rise to constant tensions, highlighting the behaviour of complex systems and the emergent properties that appear. In this case the organism is the city and not the single individual; it is the entire urban habitat as a whole, revealing its nature as a multifaceted system. The installation is the real-time mirror image of everything that changes, gathering huge amounts of data that are transformed aesthetically into a physical copy of the city, made up of cables, lights and sensors that represent shifts in environmental parameters measured numerically. The obsessive focus is on the observation of environmental data by gathering measurement on temperature, light, atmospheric pressure, noise and the sounds of the city outside the museum. Gathering digital data on the environment has become an art, and art has become a data set rather than a collection of molecules. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, theinformation and the database, a real, but dematerialized city.

Le parole OPEN YOUR CITY sono la traccia tematica che ha guidato la mostra di Share Prize. Il premio ha come obiettivo scoprire, promuovere e sostenere le arti in epoca digitale. La selezione delle opere finaliste della mostra è dedicata agli artisti che interpretano l’innovazione come linguaggio di espressione artistica, in ogni modo e forma. Una giuria internazionale composta da Simona Lodi, Carlo Ratti, Bruce Sterling e Mirjam Struppek hanno scelto gli artisti in base all’aderenza al tema e al valore estetico dell’opera.

Dichiarazione della giuria

Quale è il ruolo dell’arte, in questo momento di transizione sociale verso la città del futuro? In quest’ottica gli artisti hanno interpretato il tema Open Your City, sviscerando le parole chiave. La short-list della giuria riflette l’interpretazione del riapparire artistico del paesaggio urbano moderno come sistema, dove l’elemento solido è sostituito dal messaggio, dalle informazioni e dai database, una città reale ma smaterializzata.

Capacities: Real Time Complex – Connected Cities dell’artista inglese Stanza dedica la sua installazione alla complessità della vita in determinato ambiente. Ogni ambiente è sottoposto a cambiamenti continui che sono monitorati in tempo reale. I cambiamenti portano continua tensione e stressano il concetto di linearità ed evidenziano le emergenze che compaiono. In questo caso l’organismo è la città e non il singolo cittadino ma l’intero complesso urbano, tracciandone il profilo come sistema multiforme. L’installazione è lo specchio in real-time di ciò che si modifica, raccogliendo grosse quantità di dati trasformati esteticamente in una copia della città ma fatta di cavi, luci e sensori che esprimono il passaggio degli elementi ambientali raccolti in forma numerica. L’attenzione insistente è osservare i dati ambientali raccogliendo la temperatura, la luce, la pressione atmosferica, il rumore, e il suono della città fuori dal museo. Raccogliere elementi numerici che riguardano l’ambiente è diventata un’arte e l’arte e’ diventata un insieme di dati piuttosto che un insieme di molecole.

https://www.stanza.co.uk/capacities/index.html

 

 

Art that explores questions raised by modern society – about privacy, surveillance culture….

September 23rd, 2012

STANZA’s art explores questions raised by modern society – about privacy, surveillance culture, and who owns the data that is regularly collected about all of us – often using modern technologies to create his pieces. Since he first started exhibiting his works in 1984, STANZA has strived to create cutting edge art that deals with current issues. In the process he has won several impressive awards, including an AHRC arts fellowship, and has seen his work featured in over 50 different exhibitions globally.

Ahead of a installation of one of his works “Capacities” in Ghent, Belgium in September, Solomon Radley met with him, in front on a computer monitor at his studio in South London, to talk in depth about what he does over coffee.

Hey, how’s it going? Would you begin by telling me a bit about what you do?

STANZA: The things that I’m interested in are ‘surveillance space’, which is the idea of the city as having become a panopticon – this idea that we’re in a prison and we can be observed at all times, from all perspectives, all at once, and particularly in real time.

I use various technologies to do that, like CCTV and wireless sensor networks. Over the years, firstly I’ve developed a strong understanding of what these technologies can do in terms of learning about them, but also I’m having to develop for them, so I’ve learned how to develop hardware and software. You may think I’m a technologist – I see myself as a creative technologist, and I also see that artists are engineers, so they have to understand the technologies that they use, and the mediums that they use in order to get output.

To bring that into perspective, we can look at some artworks…

Sure thing. Would you expand on your thought that the city is a sort of prison?

STANZA: Urban Generation is a piece I did in relation to this idea of the city being a panopticon. Let’s say, in modernist terms, an artist would go out and collect assets – he might use a recording device or a camera – it would be a still, linear asset, and it would never change. It’s possible to actually conceive of the city as a moving physical entity, moving forward in time all the time. How is it possible to use new technologies to actually gain a representation of this, and use it in a culturally meaningful way?

Urban Generation attempts to imagine the world from everyone else’s perspective all at once. If I’m giving a talk, what I try and do is – to illustrate the conceptual shift – I say: “I’d like you to close your eyes, and I’d like you to imagine yourself in a place in London. I’m going to do the same and I’m going to take a single mental snapshot, and I’d like you all in the room to take your single snapshot. Now, I’d like you to imagine the view of the people sitting next to you to your left and to your right, so you have three images multiplied together. There’s 300 people in the room; I’d like you to merge all of these 300 images together. And now not like a film, (because if we used a film we’d be recording the same images) what I’d like you to do is to move these images forward in real time.”

This is the idea I’m trying to capture with this piece of work.

A lot of your work is concerned with the question of who owns the information that is regularly collected about people, and with re-claiming that information. Tell me about this idea.

STANZA: I make artworks that arise from my research into these themes – the themes being ‘control space’ and ‘surveillance space’ and issues with privacy. What I’m doing, which is sort of new ground, is that I’m hacking access to a network and re-appropriating the data and information, and I’m re-contextualizing to give it a wider meaning. I want to show that you can do something positive with this data.

Other works where I’m interested in the control and ownership of data include this website called GenoMixer, where I fully sequenced my blood. In a sense this looks like artist self-portraiture, but I was interested in thedomain space – the public domain space – that’s inside our bodies.

We have this huge line of code – 3.3 billion letters – and it basically has an economic value. The proposal here is to IPO (Initial Public Offering) the project on the stock market, and to give everyone a share of the derivable intellectual royalties. For example, if somebody else wanted to investigate your DNA in a medical program they’d have to pay you. If some other company discovered the cancer gene because you were on the police forensic database you could say “No it’s copyrighted – it’s on the GenoMixer database”.

It just so happens that I also made a series of self-portraits with them…

One of the most obvious types of information that is commonly collected about the general public is video images gathered by CCTV, and this is something you often look at. What are your thoughts about CCTV?

STANZA: Let’s look at “Urban Generation – trying to imagine the world from everyone else’s perspective, all at once“. What we’ve got here is: each square on this four-by-four grid is making calls to over 100 cameras in London in real time. This is a parallel reality, using live network data to re-appropriate it over the network and use it for something else. For example, this could be used as an extension on landscape painting.

Why this has become quite interesting, and the reason I mention these modernist aspects that are fixed, is that this work is never the same. You could look at it even now, on a different monitor, and it would be different: It’s not the Mona Lisa – where every time you look at the work you experience the same thing – there’s an added problem here.

Another interesting question here is: Is what we’re looking at the artwork? On July 7th in 2005 they switched this entire network off because of the terrorist attacks. Well my system still worked, it’s just that the output – which is what connects a viewer to the system – is shifted.

This [Public Domain Responsive Architecture Facade] is the same concept using CCTV, observing the whole of the city but making it transparent. Why would you want to make your movements open and transparent? Why would you want to let CCTV be seen by everybody? This is a building with its outer surfaces displaying images that are embedded in the city – all the stuff on the outside of the building is shifting in terms of the real time properties of that city. In a sense, you (as the observed individual) become part of the building and part of the city, and this opens up the idea of transparent architecture and transparent space.

Public Domain is another work along the same theme, where I gave CCTV cameras away to members of the public, to open up this idea of CCTV networks. People sometimes say that they’ve got nothing to hide, and to nothing to fear…I think that’s a problematic statement. I’m not coming down on a particular side of the fence here, but it seems to me that we’ve opened Pandora’s box, and there’s a whole series of legislative and ethical issues that aren’t being addressed.

Hopefully what I’m doing in these artworks is to draw attention to the fact that there’s a whole series of potential problems that we’re walking in to.

You also play with collected data, which you use to create interactive works or installations where real-time changes are caused by environmental factors…

STANZA: We’ve already looked at my CCTV system. There’s another one, which uses wireless sensors/wireless nodes. You scatter them across the city, and they talk to each other in a network grid.

This research started in 2004 as a result of an AHRC grant that I was awarded, and I was trying to find a system I could use as open source hardware and software, that would monitor the whole city space. I’ve scattered these sensors around a city to generate visualisations and sonifications in various cities. For my first project [Sensity] they were output onto a visual globe.

So, now what I was interested in doing is looking at this real time data, that’s now everywhere, and seeing if I could do something else with it – if I could make art with it.

Equally, in Sonicity I deliberately put a whole load of speakers on the floor and connected them all up to make it look like a map, and somewhere else (in another part of the world) that data is being collected from my network and being spat out onto the internet via an XML stream. In arty terms, maybe I’m “painting with data” – the data has become the medium. With this data I’m painting a sonification of the real time landscape.

The second thing I was trying to think about, as part of this thinking process, was all the stuff that’s being collected about us – not just my data, but tax data and medical records – which could be used because of the way it changes and shifts from one thing to the next to power other events:

With CapacitiesI made…let’s call it a sculpture…a sculpture of computer parts that looks like a city, and would be powered by events changing somewhere else in real time. In this version of Capacities, all the lights and fans, and all the parts that change, do so because of other things happening in the world in real time.

The reason I’m trying to do that is that there seem to be other values that people are missing in terms of the things that are happening to us, and the world, in real time. We’ve become bodies residing in a ‘data space’. Everything around us is the data space and by default we interact with it – even small movements displace millions of atoms.

I conceive of this post-modern world in which movements are just moving a series of 0s and 1s. I can measure the 0s and 1s that I’m displacing by moving around. This interactive process is embedded in the work by default.

Visitors to a Gallery… is quite an important work, in that it opens up the gallery space as an artwork. For example, these two people that are pictured aren’t actually in this room – they’re in another room in another part of the gallery, so they’re embedded in the artwork that you’re viewing. Everybody in the architectural space becomes part of the artwork, and this happens in real time – it’s not recorded, and it’s not a film. So I utilize the technology in the space (the CCTV system).

Secondly, what’s happening here is that there are a series of proximity sensors that affect this as an algorithm – as you walk around this space all of these images oscillate/vibrate slightly.

So when you’re in the room, viewing this artwork, you’re at the same time generating an artwork for someone else in another room?

STANZA: And you’re in the work you’re viewing yourself, through your interaction with the sensors.

That’s also happening in Seeing Through Walls, where there are little cameras and monitors, so you become embedded in the same artwork as it’s being broadcast live, or in this piece where you can see through to people on the other side of the wall.

I was actually in a Greek club where they had something like that – the mirrors in the toilet let you see yourself, but also the women doing their makeup in the adjacent toilets…

STANZA: Ha! No wonder their ecomony’s gone down the pan…

Moving on from that, my work splits into this idea of using real time networks and investigating different ways of interacting with public space.

Here’s a strange project called The Binary Graffiti Club, where I got a load of people to dress up in hoodies with 0s and 1s on their backs, and they go round the city making binary graffiti – painting little coded messages onto the city.

Anything in particular?

STANZA: Well…no. I don’t want to be too specific about this, because… Well here’s a piece going back to the DNA project (the open source bit). If you sit in the gallery for…this has been online for seven years: If it was exhibited in a gallery you could get my open source DNA, and you could go off and replicate me, but it changes a letter once every second so you’d have to sit there for 104 years with a pen and paper. The same is true of the binary graffiti club – if you want to know what the message is, you have to sit there and transcribe it and translate it.

One letter from STANZA’s DNA code – the letters are shown in order, one per second for the 104 year project

This led from another piece of work – A City of Bits – as well as this performance that was laid down in the form of this sushi: I invited 12 people, after the disciples, and asked them to come and eat this coded sushi message. So, this is a coded message that they eat, and then they all put their own message back into a jar which I’ve now destroyed. I’ve transcribed those messages here…

You have a performance coming up in Texas soon – tell me a bit about what you’ll be doing.

STANZA: In Soundcities, using a recording device, I’ve been to all these different cities, recording sounds which are attached to Google Maps, and you can visit lots of cities in the world…

The key to this is the database; you can see the sounds, arranged in different categories, and you can create a performance by picking a selection of them and building up rhythms. This is what I do with my performances, except I have the same thing on a couple of machines, and I might mix it with sounds from churches, etc. It’s basically a live world tour of city sounds as music: the machines are connected to a mixing desk, images are coming from the website projects.

During the eight years I’ve been doing these performances, they’ve been heavily focused on the sounds of cities, the database live and soundmaps.

So this database can be used in performances, but the key here is that the database is open source, and other people can contribute to this community of sounds. There’s lots of other projects that have come from this, but the most important bit is this. This XML feed shows the sound, and its longitude/latitude, and although this is just a line of code it basically means that anyone else can use this to write their own apps.

What I’m doing that’s unique here is: it’s like an artist of the past allowing someone into their studio to work in parallel with them.

www.stanza.co.uk

Touch screen artwork exhibition In Madrid 2012. The VIDA retrospective,

May 31st, 2012

The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive. On the floor is a generative map of the city of Madrid.

Stanza The Central City Installation

ARTE Y VIDA ARTIFICIAL – VIDA 1999-2012

El concurso de Arte y Vida Artificial VIDA fue creado por Fundación Telefónica en 1999 para promover la creación artística basada en las nuevas tecnologías y se ha convertido en uno de los premios artísticos de mayor prestigio en el encuentro entre el arte, la ciencia y la tecnología.

A lo largo de sus trece ediciones VIDA ha premiado obras artísticas desarrolladas con tecnologías de vida artificial y sus disciplinas asociadas como la robótica, la inteligencia artificial, los algoritmos caóticos, los virus informáticos, la biotecnología, los entornos virtuales o la escultura sonora y se han presentado 1.478 proyectos procedentes de más de 50 países.

La presente propuesta expositiva, comisariada por KarIn Ohlenschläger, deja patente la evolución del concepto de vida artificial en relación al arte y la existencia de distintos modos de indagar y afrontar el diálogo entre arte y nuevas tecnologías.Algunas de las 23 obras expuestas simulan la evolución y los comportamientos de los sistemas vivos en soportes digitales y animan materiales inertes. En otras, se acometen de manera decidida la manipulación y transformación de la materia viva. Con ello los artistas nos hacen partícipes de la reflexión sobre qué es la vida.

La exposición también permite explorar la convivencia entre distintas especies naturales y artificiales, entre lo físico y lo virtual, entre lo orgánico y lo tecnológico. Estas experiencias aproximan la vida artificial a nuestro entorno cotidiano.

Stanza The Central City Installation

Se muestran obras que afrontan los valores éticos y simbólicos del avance de diversas ramas de las ciencias y crean conexiones entre el arte, la ciencia y la conciencia social, política, económica y cultural.

El recorrido por la exposición se articula en cinco secciones que nos llevan desde la escala nanométrica del ADN hasta la dimensión planetaria de la vida : El código de la vida ); Robótica: orden e insumisión;, Sistemas simbióticos; la vida es comunicación y Membranas sensibles.Here are some images from the recent exhibition in Madrid for Vida. The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive.  On the floor is a generative map of the city of Madrid.

Stanza has exhibition of artwork In Madrid 2012, The VIDA retrospective,

Stanza artwork installation The Central City in Madrid May 2012

May 1st, 2012

The Central City gets dusted down by Stanza  for Vida Retrospective in Madrid from May 8th for six months. Hundreds of sections of this art labyrinth will be exhibited on 15 touch screens built into towers blocks as a large scale interactive installation (see below). Stanza will be showing all the Central City projects and sub projects. It’s a labyrinth, a “city” of interactive artworks themed around the life of the city and using patterns maps and city data.

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)

Stanza Vida Retrospective Madrid. The Central City Exhibition

April 13th, 2012

Works for Premios VIDA The Central City by Stanza 1996 – 2004

The installation includes these titles. Central City.   1996 +  Inner City I.  2001 + Inner City II. 2001  +Beautifull Maps.  2004  + Biocities. 2003  + Codified. 2003  + Nanocities. 2003  + Diversity  I. 2003  + Diversity  II Pillars Of  Truth. 2003  + Elasticity. 2003  + Spider Maps. 2004

The Central City gets dusted down by Stanza  for Vida Retrospective in Madrid from May 8th for six months. Hundreds of sections of this art labyrinth will be exhibited on 15 touch screens built into towers blocks as a large scale interactive installation (see below). Stanza will be showing all the Central City projects and sub projects. It’s a labyrinth, a “city” of interactive artworks themed around the life of the city and using patterns maps and city data.

The Centrtal City for Madrid Vida

The Central City for Madrid Vida

The Central City has the following sub titles and artworks ( like chapters in a book) :-universa constructor videotron megalopotron univercity smallworlds textourama elevator maputor proser city central citoxity fostexity textus sounder randomizer cuboid matrixity advercity fibrinet.

‘The Central City ‘, is an audio visual, interactive, internet art, experience. The central city consists of text pieces, embedded sounds, all made for the internet.  The city becomes an organic network of grids and diagrams, juxtaposing urban sights and sounds. An online internet specific art project I wanted to develop analogies for the organic identity of the city as an urban community and make links with electronic networks and virtual communities. This organic interplay is contrasted with man made structures, as well as patterns and forms of urban design. The online spaces are for dreaming, thinking, meditating and transience.  https://www.stanza.co.uk/centralcity/index.html

Inner City. Different sections inside include:- virosity. artitexture. blackstar. complicity. cuboxis. intoxcity. megalopolis. misterium. modernista. ecumenopolis. motorate. organicity. phyletcity. revolver. utopias.

The idea is to go deeper into analogies for the organic identity of the city. The micro city becomes an organic networks of grids and diagrams.The form and content of this work is a visual world of the city and its structure. Networks of information technology are contrasted with organic networks and city networks. The project fuses the sounds of specific places.The sounds of language impose a rhythm that the visual narrative can interact with. The city codes itself up into a growing patterns and images based on algorithmic patterns. The digital city experience. https://www.stanza.co.uk/inner/index.html

Biocities.

Inspired by the idea of the city being a coded entity. These “paintings” map out city emergent city spaces. Each one in the series has different behaviours which change the sounds over time or generate and evolve new images, ie shapes and colours. The city experience is a web of connected networks and multi layered threaded paths that condition us to the emotional state of the city space. In essence, the city fabric is a giant multi user multi data sphere. 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. There are 24 artworks in the series built into a unique software system. They are available as a touch screen edition for exhibition.

https://www.stanza.co.uk/biocities/index.html

Codified

This artwork is inspired by the idea of an emergent data city. As we walk about, the patterns we make via phones and gps systems leave traces and memories of the places we have visited. This artwork tries to re-create those patterns as abstracted movements captured over time. The end results, the outputs, are ‘maps’. “Codified” creates patterned maps actioned by the interpretation of the code. https://www.stanza.co.uk/codefied/index.html

Beautiful Maps

Small scale events and objects have affect within systems. These code structures create patterns on the nano scale making generative paintings that look like maps and cities. This custom made software makes millions of maps.

https://www.stanza.co.uk/beautiful_maps/index.html

Stanza Towers 2004 from Diversity

Stanza Towers 2004 from Diversity

FROM THE CENTRAL CITY AND INNER CITY TO THE EMERGENT CITY

The ‘central city’ has become an amalgamation of images from art, architecture, design and urbanism. The city has moved from metropolis to megalopolis to the ecumenopolis. The city is everywhere, with lifeless design spreading upwards and forming a conundrum of physical objects in space.  Cities become “insect colonies”, spreading upwards with giant towers looming over vacant lots, and empty spaces.

The form and content of this work is a visual world of the city and its structure. A visual labyrinth, a maze of circumstance. The city itself is always changing; it is always in flux. A visual labyrinth, a maze of circumstance. The city itself is always changing; it is always in flux. Each aspect of city life seems to demonstrate specific characteristics, which can be developed into individual parts of the labyrinth, making up the images that will be used.  A city experience consists of small unit blocks and cells which inter-relate and lock together to form the composite city identity.

 

The online spaces are for dreaming, thinking, meditating and transience.

City Sounds

I am interested in the sounds of specific places, and how the sounds reflect this identity and re-impose characteristics back onto the location or environment. Cities all have specific identities, and found sound can give us clues to the people that inhabit these spaces, as well as provoking us and stimulating our senses in a musical way. The sounds of language impose a rhythm that the visual narrative can interact with. The intention within newer sections of the inner city, is to create an audio visual experience that evokes place, both as literal description but also developed musical composition. These are the ideas that are informing my ‘soundmaps’ series, and ‘soundcities’.

Stanza

www.stanza.co.uk

Exhibition Information. This project has also been exhibited at.

museo tamayo arte contemporáneo 2002 + fluxusonline 2002 + cosign germany 2002 + fcmm montreal 2002 + physical vs. logical space , austrailia + cinemania(c) croatia 2002 + arte digital cuba 2002 + isea japan 2002 + Garage Festival Germany 2002 + Senef korea 2002 + nimes 2002 + emaf 2002 + siggraph usa 2002 + soundtoys 2002 + cybersonica 2002 + Fused 2002 + Sao Paulo Bienale 2002 + Zeppelin Barcelona 2002 + Net.art in 4L Istanbul 2002 + Immedia 2002 usa + Net-working 2001 + Soeul Net art 2001 + Generative Art 4th GA2001 + A Fair Place Turkey.2001 + McLean Project Casting a Net USA 2001 + Art Image Graz 2001 + Video Lisboa Lisbon 2001 + Impakt Utrecht 2001 + Medi@terra Greece 2001 + Cynet 2001 Dresden + E.I.I.Festival edinburgh 2001 + Garage Festival Germany 2001 + Urban Myths.Israel 2001 Independent Newspaper best site of the week 2001 + DLUX 2001 Austrailia + Moscow International Festival 2001 + Sonar 2001 + net-z-lab 2001 + Vdor21/Break21 2001 + Thaw 2001 + arco 2001 + Transmediale 2001 + Architettura in Video 2000 + Netart 2000 + Independent Newspaper best site of the week 2000 + Macromedia’s UCON 1999 + BIMA shortlist UK 1999 + emaf 1999 + Seafair 1998 +

Stanza The Central City Installation

Stanza Installation Of Real City Data at Gogbot Festival Enshcede Holland. Sept 2011

September 1st, 2011

Off  to Holland for an exhibition of Capacities by Stanza at Gogbot Festival Enshcede Holland. Gogbot is an art music technology festival in Enschede, the Netherlands. Sept 2011. Decided to drive the work in a car. This was a great fun event.

Stanza at Gogbot Festival Enshcede Holland

Stanza at Gogbot Festival Enshcede Holland

The artwork  is a responsive installation with embedded interactive elements. It is responsive to the environment via sensors and interactive with its embedded CCTV system. The artwork gathers data from the city (environment) a custom made wirless sensor network. This is then represented virtually and then this virtual city is represented as this electronic city. The work becomes a manipulation of data, that ‘powers’ all the ‘events’ ‘actions’ and ‘processes’ in the installation. The changing data in the city creates all the changes one experiences in the gallery space. The moving objects, fans, changing lights, motors, noises, that you encounter in the gallery are all responding to changes in temperature, light, pressure, noise, and the sound of the city outside.

The whole gallery space becomes one large artwork made from real time city information and data. The aesthetic and feel of the space looks like an electronic city. The city is made of units, grids, repetition , building blocks. In the gallery city called ‘Capacities’ the leads, the wires,and cables are incorporated into the artwork to look like a city map.’ Capacities’ looks “designed” like a piece of urban design, a city surveyed and controlled. The whole space becomes a map to wander through.

The real world is made virtual and the virtual is made real again and exposed in the process. This whole piece us a living and breathing artwork. The project focuses on the micro-incidents of change, the vibrations and sounds of the environment using wireless sensor based technologies.

We understand the 20th century in terms of atoms, molecules and gases that move. Our world is now a world of numbers and changing data and information. This art installation manipulates these numbers from the real world and affects the installation in the gallery space in real time. Capacities does this by capturing the change over time of the environment using customized sensors that collect the real time data. See website for more

stanza artworks

 

Stanza asks:- Can we use new technologies to imagine a world where we are liberated and empowered…

April 4th, 2011

RvK: Stanza, you were among the first internet artists. What would you say is the most important philosophical step (if we can think in terms of ‘progress’, or ‘going somewhere’) that you have taken in this period?

“In the last twenty years there has been a significant shift in audio visual artists’ practise from linear expressions, to interactive (user controlled) mediations, to generative (evolving) and then network-based (real time) systems. Online, this space  also expands the whole notion of the artist’s studio.  My focus is on the things that change, the flow, the data that describes our experience of the city as space. Data from all sides in systems that can be mediated by all, with varying visualizations communicated over the internet and represented onto different display systems.

There are many  theoretical aspects to my work, but primarily I am a practice-based artist……in other words I make stuff.

My work has covered experiments in these areas and traced a shift in practise from modernist approaches of asset gathering (linear construction) to arrangements of datasets in fixed lists or databases (interactivity) to new approaches of mining information across networks in real time.( generative and real time systems)……culling data off CCTV networks, making visualizations of cities from my wireless sensor networks.”

Stanza Live City Data

RvK: How do feel about the current actualizations of the ‘in between’ space that you felt, saw or heard coming some time ago?

“I believe there is a new social space that exists in between these independent networks. Future cities will be merged into real time connected up data cities.  A connection of networks of real time information flows. The results created will lead mashed up cities and real time performative city experiences.  This conclusion although led from my earlier trails using wireless sensors in a project called Sensity.

I am interested in how this shared data space can overlap creating a new space in between which only two nodes or spaces share. For example in one of my artistic experiments I have  merged collected data from various real time cities to visualise this new space, the space where the cities overlap and which allude to a new architectural and urban virtual space. Uses of such information might allow rich new interpretative visualisations about the way our world is built, used, and designed.

The resulting artworks represent the real time conditions of the city.  Works like “Sensity”, create real time interpretations of social spaces that inform the world (online), and hopefully create new meaningful experiences allowing critical reflection on the real time city and the social political undercurrent embedded in the search for the real time city.

This might also allow for a greater community of interpreters and beneficiaries to see, and to come to their own understandings arising from this data about our socially-networked environment.  (as the data in these projects is open via XML)

Underpinning these artworks and research, are a whole series of potential problems about observation, surveillance, and the ethics of the control space.  Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analyzed, interpreted and logged.

The world we will live in seems to be a much bigger brother than the Orwellian vision, it’s the mother of big brother.

Can we use new technologies to imagine a world where we are liberated and empowered, where finally all of the technology becomes more than gimmick and starts to actually work for us or are these technologies going to control up, separate us, divide us, create more borders. Will the securitization of city space create digital borders that monitor our movement and charge us for our own micro movements inside the system?”

RvK: The data is the medium, you state. Can you explain this a little bit?

“Just  that… the data is the medium of the age….”

RVK: Can you find connections to the FB generation? Do you want to?

“It has a useful API as do all these new big sites; however there are restrictions entering the domains and boundaries of others especially when they  try to cross over and get monitised.”

RvK: The key  (or one of the keys) is  the granularity of input for these ‘smart’ systems. How do you see this?

“Yes, small unit blocks, simplified then re built , re-cored re-formed into an understanding that can re-communicate the complexity of the larger system. Strip the city down and re- configure it as a real-time visualization and plug it into other cities.”.

RvK: Your work is filled with wonder? Do you feel that this wonder is facilitated somehow in what is now termed Internet of Things?

“I have tried to encompass this “wonder” about real time connectivity and networked space  in my  latest three works, they are about the “internet of things”, but equally  they  are about real  time experiences of the environment and the spaces that change around us.”

Works by stanza
Façade.

I have been comissoned to make a responsive architectural façade. The facade is a live dynamic interface, an artwork that changes its behavior as a result of the changing condition in the environment. This works by sensing the city and the environment to make art. The results become representations of the real time spaces and environment of Trondheim in Norway. The environmental data is collected across the urban and environment infrastructure to make the artwork; using custom made sensors in the building and around the city. (30 custom environmental sensors units measure, light, noise, sound, humidity, and temperature). This data is turned into a online real time visualization of the space. The output from the sensors display the real time environmental and emotional state of the city online in real time and the information will be used on the façade and online interface to control it.
‘Capacities’ by Stanza.

I am planning a much larger version of Capacities and I am looking for an exhibition for it. In Capacities the whole gallery space becomes one large artwork made from real time city information and data. The aesthetic and feel of the space looks like an electronic city.  The city is made of units, grids, repetition, building blocks. In the gallery city called ‘Capacities’ the leads, the wires, and cables are incorporated into the artwork to look like a city map.’ Capacities’ looks “designed” like a piece of urban design, a city surveyed and controlled.  The whole space becomes a map to wander through. ??Sonicity by Stanza

Sonicity

I am working on the next version of Sonicity for a space in South London.  This artwork is a responsive installation, a sonification of the real space and environment. The sounds you hear are the sounds of the changing environment, ie the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors presented as an installation on 170 speakers.

This artwork focuses on the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from these new technologies. My system monitors the space (the building) and the environment (the city) and captures live real time data (light , temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time.

Stanza was interviewed byRob van Kranenburg from The Internet Of Things.eu

Stanza data data data

VIRTUAL INTERNET CITIES. LIVE DATA CITIES. BY STANZA 2007

December 8th, 2010

VIRTUAL INTERNET CITIES.  The Emergent city  The city experience is a web of connected networks and multi layered threaded paths that condition us to the emotional state of the city space. In essence, the city fabric is a giant multi user multi data sphere. To take part you really have to put something back in, that’s like life. In this case, to take part you have to input data so others ‘may’ see the output of the data response.

Stanza CCTV artwork

Image: Stanza CCTV artwork using 200 CCTV cameras over one night. 2005

Lets imagine a space in which every action, memory, thought, feeling,  has a connection to every other action. A space where all data in the system, seamlessly integrates with all others. This place exists, it’s inside our heads. The emergent metaphor of the brain has many similarities with the emergent connectivity of cities.

Panic Noise

Mobility can be seen from traffic patterns, to pedestrian patterns, to bird flocking patterns; to multi-threaded patterns along a time line. Patterns can be seen in the architecture, the buildings, the architectural fabric of the urban design network. And closer inside the micro patterns of the city, we have the life cycles of the atomized, the insects, the life of continuity all of which exist along a timeline of past present and future. The city has a history. Stories relative to time and place, stories from the street. Love stories personal and  extreme, crime stories, stories that are small or that can affect global parameters. Inside the mobile city there are future stories and future worlds to invent and discover.

All of these spheres can be represented by media and therefore by data within the digital realm. And all of this mobile data can be interpreted and mediated. It becomes a matter of choice. Collections of data can be stored to be retrieved later. The mobile data infrastructure becomes a data source so powerful so interwoven that its scale can only be imagined as metaphor.  The size and scope of such an archive, of such rich mediated data experience would support many projects.  As such it can be interpreted as history via one sort of interface or as a game via another sort of interface.

Cities offer the opportunity for unique types of data gathering experiences via a variety of sources. An emergent  process data mining from all sides, online  for  all.  People collecting data, sounds, stories, photos, that can be filtered back into such a system.

stanza art data city

A possible objective is to ‘mediate’ data into conceptual artifacts. With this perspective there are many unimagined threads of data and connections that describe our world that can be explored through wireless mobile networks within which we can create artistic interpretations.

The network that all this takes place in is the grid of the city. In Shanghai in the planning museum you can see this in one room by looking at the model of the whole city. Mobile devices, wireless, or sensor devices, can trace and track you through such a system where data impacts to unfold meaning. This data can in effect be for aesthetic purposes as well as for marketing, and delivered as any type of media.

A model of the city could be made in this case as a simulated experience. An example of this is a controlled ultrasound sensor rig which pings sound in relation to ones position in the system (used in my Robotica artwork). It will allow you to fade sounds as you move about. Another example would be GPS positioning systems within real cities spaces, or which there a number of projects in development worldwide, and I used it for example in “Sheep“.

Types of data can be re-imagined. This includes pollution data recorded via sensors in the street, to create audio acoustic files expressing the pain and suffering of the air as it pollutes. Weather and forecast data, acquired via weather station equipment, this can be used and can create ambient soundscapes and morphing visualizations as the wind shifts direction or the rain increases. Noise monitor levels, and noise maps, create a symphony of true urban sounds that can be used to make sound reactive sculptures.

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. I take the sounds and images of live web streams and re-represent them thus creating new interpretations of the city in the process.

Third Great Revolution

The State doesn’t allow access to certain data because of the data protection act, but what happens when things change? Walls do fall down, governments change, ideologies become overtaken. The data explosion will be immense, but only an open sourced egalitarian system will allow transparency and sharing of wealth and information. Many networks protect the entry and their content and too many have all content loaded to these database which belongs to dot dot dot ..(not you)

Uses of this information and data should allow rich new interpretations on the way our world is built, used, and designed.  Real new media landscapes or mediascapacities.

Text:  Stanza 2007

Sonicity: Networked Soundscape at Lanternhouse

December 7th, 2010
stanza artwork sonicty

Stanza Installation. 2010. Sonification Of Space

Sonicity Installation is now available for touring.

This installation artwork focuses on the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from  new technologies. Sonicity is a responsive installation, a sonification of the real space and environment. The sounds you hear are the sounds of the changing environment, ie the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors presented as an installation on 170 speakers. The funding for all the speakers and installation version was made possible by financial support of Lanternhouse International.

Sonicity is a responsive installation, a sonification of the data space.The sounds you hear are the sound of the changing environment, ie : the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors. The system monitors the space (the building) and the environment (the city) and captures live real time data (light , temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time.

The objective is to explore new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space.

The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies. Motes are used to collect the data. The ‘motes’ are tiny wireless sensor boards that gather data and communicate to the central server. The real world is monitored and the data stored in my archive retrieval system. Motes and sensor boards sense the micro incidents of change in the light, the noise, temperature, sounds of the flows inside the space.

Using the XML live feeds the data can be turned in music. A custom made MAX/MSP motereader and sound synthesis engine has now been written. This allows one to hear the sounds of space, ie : an aural experience of the surrounding space. Additional mixers in the software allow all the sensors to be mixed and cross mashed. Basically this allows you to perform with space.

Stanza gets award in Digital Turku.

December 7th, 2010

Capacities was given an award in Digital Turku in Finland for 2011. This is more great news the whole installation will be on show for two  months some time next year.

stanza artist capacities

Image: Stanza Capacities.2010. Responsive data artwork.

About Capacities:  The real world is made virtual and the virtual is made real again and exposed in the process. The whole gallery space becomes one large artwork made from real time city information and data. The aesthetic and feel of the space looks like an electronic city.  The city is made of units, grids, repetition , building blocks. In the gallery city called ‘Capacities’ the leads, the wires,and cables are incorporated into the artwork to look like a city map.’ Capacities’ looks “designed” like a piece of urban design, a city surveyed and controlled.

The whole space becomes a map to wander through.

https://www.stanza.co.uk/capacities/index.html

Another view:

stanza artist capacities

Image: Stanza 2010. Artwork Capacities.

Stanza Media Facade. Responsive Architecture.

November 30th, 2010

This proposal has won the Nova Folkets Hus facade international juried competition and is now in development.

This AOF Nova facade utilizes, electronic art, new digital media, interactive technology, dynamic real time solutions, and networked space to create responsive architecture that reflects the emotional real time state of the city of Trondheim by UK artist Stanza.

stanza_jtrondeima4_mockup3s

Stanza Media Facade 2010. Data from across the city.

Stanza artwork.

Environmental data is collected across the urban and environment infrastructure to make the artwork; using custom made sensors in the building and around the city. (30 custom environmental sensors units measure, light, noise, sound, humidity, and temperature). This data is turned into a online real time visualization of the space. The sensors interpret the micro-data of the interactive city. The output from the sensors display the real time environmental and emotional state of the city online in real time and the information will be used on the façade and online interface to control it.

My environmental sensors are scattered all over the building and city; this means I am literally painting with live data.

This work opens up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This is used by me to make artworks but it is of equal interest to urban designers, city planners, and architects. The main point is to question the social political fabric of the landscape around us.

This work aim to reclaim the city which is remade as a real time virtualised space belonging to all.

https://www.stanza.co.uk/facade/concepts.html

New metaphors relevant to the experience of the city.

November 30th, 2010

Various types of data can be re-imagined within the context of city space and the environment.

stanzauu-077-copy

Image: Stanza Video Still 1986. Artitextures.

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 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 increase of technology infrastructure in the daily existence of a city means that technology will, more than ever be everywhere in our environment.

Mobile data mining will be part of the fabric of the landscape. We will be carrying this data in pods, phones and IDS cards. Everything is or will be tracked. CCTV, car sensors, tracking inside our phones and id card movement tracking in the guise of anti- terror activity.

stanza_cctvr

Image: Stanza Robotic CCTV sculpture 2007.

Stanza sculpture of robotic arms with CCTV copyright 2007

RESPONSIVE ARCHITECURE FACADE – DATACITIES. Nova Folkets Hus facade international juried competition

June 18th, 2010
stanza_artist_sidefacade_new2

Stanza . Responsive architecture. 2010. AOF Facade Norway.

This proposal has won the Nova Folkets Hus facade international juried competition and is now in development over the next two years. The facade becomes a live dynamic smart interface, an artwork that changes its behavior as a result of the changing condition in the environment. This works by sensing the city and the environment to make art. The results become representations of the real time spaces and environment of Trondheim Norway.

Environmental data is collected across the urban and environment infrastructure to make the artwork; using custom made sensors in the building and around the city. (30 custom environmental sensors units measure, light, noise, sound, humidity, and temperature). This data is turned into a online real time visualization of the space. The sensors interpret the micro-data of the interactive city. The output from the sensors display the real time environmental and emotional state of the city online in real time and the information will be used on the façade and online interface to control it.

My environmental sensors are scattered all over the building and city; this means I am literally painting with live data.

Stanza Live City Data

Artwork sensors in the building and around the city. Stanza 2010.

Stanza generative coded wall. 2009

March 4th, 2010
Brent Wall Projection example copy

Image: Stanza Wall Projection 2009

This artwork is inspired by the idea of an emergent data city. As we walk about, the patterns we make via phones, and gps systems, leave traces and memories of the places we have visited. This artwork tries to re-create those patterns as abstracted movements captured over time. The end result, the output are ‘maps’. “Codefied” creates patterned maps actioned by the interpretation of the code.

In the next version live networked data from GPS and 3g networks will create a live realtime accurate system of where we all are in the world at any one time. (screen size needed 1024 by 768) . In development it uses eleven people in real time to track through the city. Update march 2009.  I now have developed the GPS system fopr 15 people that tracks them all through the city and a preformance based piece is in development; an audio visual sonification and visualisation tracing / tracking the event in real time.

Brent Wall Projection example

Image: Stanza Wall Projection 2009

artwork by stanza….building as art…

https://www.stanza.co.uk/nanocities/index.html