The Emergent City. A Life From Complexity to The City of Bits. 2013
The artwork captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. The artwork explores new ways of thinking about life, emergence and interaction within public space.The project uses environmental monitoring technologies and security based technologies, to question audiences' experiences of real time events and create visualizations of life as it unfolds. The installation goes beyond simple single user interaction to monitor and survey in real time the whole city and entirely represent the complexities of the real time city as a shifting morphing complex system.
The data and their interactions – that is, the events occurring in the environment that surrounds and envelops the installation – are translated into the force that brings the electronic city to life by causing movement and change – that is, new events and actions – to occur. In this way the city performs itself in real time through its physical avatar or electronic double: The city performs itself through an-other city. Cause and effect become apparent in a discreet, intuitive manner, when certain events that occur in the real city cause certain other events to occur in its completely different, but seamlessly incorporated, double. The avatar city is not only controlled by the real city in terms of its function and operation, but also utterly dependent upon it for its existence.
Underlying conceptual theme. The mother of big brother .
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 is 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 us, separate us, divide us, create more borders. My wireless sensor network is set up to "visualize" the space all around us as 'worlds' full of data. These new data-spaces can help us understand the fundamentals of our outside environment.
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 and the data from the living real world; all of this affects the installation i.e. the artwork in the gallery space and all the changes occur in real time.
The real world is made virtual and the virtual is made real again and exposed in the process. This whole piece is 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.
This is The Mother of big Brother.
Watermans Gallery Brentford. London. 2013.
TSSK Trøndelag Centre for Contemporary Art. Metamorf Trondheim. Norway. 2014
Centre des Arts d'Enghien-les-Bains. Paris. France. 2014
Available for touring and exhibition.
In the gallery:
The gallery space becomes a live emergent sculpture to wander through. The changing life in the real time city creates all the changes one experiences in the gallery space. The leads, the wires, and cables are incorporated into the artwork to look like a city map. The installation looks "designed" like a piece of urban design, a city surveyed and controlled. The whole gallery space becomes one large artwork made from real time city information and data. 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 aesthetic and feel of the space looks like an electronic city. The city is made of units, grids, repetition, building blocks.
In the city:
The artist's own sensors network is laid out across the city to collect and monitor the data i.e. temperature, light, pressure, noise, and the sound of the city. The artwork gathers data from the city (environment) via a custom made wireless sensor network. The work becomes a manipulation of data that ‘powers' all the ‘events' 'actions' and 'processes' in the installation.
What you see:
What you see as well as this body are hundreds of parts that come alive as the data changes and evolves. Its a hybrid work powered by live events. Custom made software gathers data from the artists sensors network via a custom made java proxy server and send it to the sculpture. The mote reader software (in visual basic) sends events to the sculpture. This exist in two forms; in real time and as a local archive data set. (This enables the artwork to always function in the space, ie it has a back up)
Stanza has developed a 40 mote multi sensor network that is used in this artwork and be scattered though the the location. The nodes can be placed up to 50 -200 meters apart over the space and the second network 300m -1000m apart over the city. Once switched on they gather the data.
This installation consists of: -
In summary the XML live feeds (the incoming data) is turned in something ie the events one experience in the gallery. The software enables light, temp, noise, humidity, GPS to all be mixed separately across the whole system if required. In summary the XML live feeds (the incoming data) is turned into the artwork.
Also developed is the online custom built software software to collect environmental data from the sensors allowing the data to be ported over networks to the installation software. This Moteproxy software is a java middle-ware environment for connecting up xbow motes allowing access to the data outside and directly off the motes. It is now in version two and sits on its own server. It allows access to the two networks of twenty motes in real time from which PHP and XML pages are served up. Moteproxy allows real time polling of data online from any sensors network that is connected and switched on, the data is then formatting in PHP and XML to enable anyone to make a visualization or interpretation of the data with it. The changing
This is a visual basic system to interpret the date to send to the arduino boards running the gallery system
For the past ten years I have been researching wireless sensor networks. I have developed the software and I can place sensor hardware to make these installations. This is the physical entity that one can see and hear to experience the real time and passage of time. I use 40 motes sensors in a network and I have custom built software that gathers data and places the data online via a java proxy server. The data is also used to create the visualizations in an open source environment .
Because the data is networked other online users can also re- interpret the data and interrogate the various sensors in the network as this is open source as well (via xml streams online). The sensor network takes a constant stream of data which is published onto an online environment where each different interface makes representations of the XML and this is used to make an offline and one line artwork. I have tested the sensors, I have written custom software and the main boards are built. The sensors monitor temperature, sounds, noise, light, vibration, humidity, and GPS.
How it Works.
I have 40 motes multi sensor network that are scattered thought the the building and across the city or location space. The nodes can be placed up to 50 -300 meters apart over the space. Once switched on they gather the data. I have made two versions of the interface software and custom built software for real time data over networks. Mote proxy is a java middle-ware environment for connecting up sensor motes to get access to the data outside moteview and directly off the motes. It is now in version two and sits on our servers. It allows access to two networks of twenty motes in real time from which php and xml pages are served up. Mote proxy version two, and allows real time polling of data online from any sensors network that is connected and switched on, the data is then formatting in PHP and XML to enable anyone to make a visualization or interpretation of the data with it. The changing data is what affects what you see and experience. The sensors monitor temperature, sounds, noise, light, vibration, humidity, and gps.
Data is what affects what you see and experience. The sensors monitor temperature, sounds, noise, light, vibration, humidity, and GPS
Stanza has developed a 40 mote multi sensor network that is used in this artwork and be scattered though the the location. The nodes can be placed up to 10 -300 meters apart over the space. Once switched on they gather the data.
Centre des Arts d'Enghien-les-Bains. Paris. France. 2014
Stanza is an internationally recognised artist, who has been exhibiting worldwide since 1984. His artworks have won prestigious painting prizes and twenty international prize and art awards including: Vidalife 6.0 First Prize. SeNef Grand Prix. Videobrasil First Prize. Stanza's art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and a Clarks bursary award. His artworks have been exhibited globally with over fifty exhibitions including: Venice Biennale, Victoria and Albert Museum, Tate Britain, Mundo Urbano Madrid, New Forest Pavilion Artsway, State Museum Novorsibirsk, Biennale of Sydney, Museo Tamayo Arte Contemporáneo Mexico, Plymouth Arts Centre, ICA London, Sao Paulo Biennale.
Stanza is an expert in arts technology, CCTV, online networks, touch screens, environmental sensors, and interactive artworks. Recurring themes throughout his career include the urban landscape, surveillance culture, privacy and alienation in the city. Stanza is interested in the patterns we leave behind as well real time networked events that can be re-imagined and sourced for information. His mediums include generative artworks, paintings, installations and public artworks.
From the essay "In Search of a Digital Masterpiece (or Two): Stanza " By Maria Chatzichristodoulou [aka Maria X]
Stanza's current works go further towards inviting the city and the people that inhabit it to populate and become the artwork. From generative and interactive art such as the Central City , Stanza has moved to open systems that collect and re-appropriate real-time data to create multifaceted ‘urban tapestries' (Stanza, 2011), such as the Urban Generation . The even more recent installations consists of two elements: a physical installation within the gallery space made from hundreds of electronic components such as fans, leads and motors, which resembles a miniature electronic city; and a tailor-made network of wireless sensors that is embedded within the gallery space and the urban landscape that surrounds it, and which collects data from its environment. The data collected include GPS positions, humidity, noise, temperature, and light' (Stanza, 2008).
The data and their interactions that is, the events occurring in the environment that surrounds and envelops the installation are then translated into the force that brings the electronic city to life by causing movement and change that is, new events and actions to occur. In this way the city performs itself in real time through its physical avatar or electronic double: the city performs itself through an-other city. Cause and effect become apparent in a discreet, intuitive manner, when certain events that occur in the real city cause certain other events to occur in its completely different, but seamlessly incorporated, double. The avatar city is not only controlled by the real city in terms of its function and operation, but also utterly dependent upon it for its existence. The co-dependent system of poses questions around issues of interaction, dependence and control within the hyper-mediatised, surveyed, urban environments that envelop the biological, co-dependent systems that human bodies also are.
The results produce a networked interactive installation that is experienced by the public.
Centre des Arts d'Enghien-les-Bains. Paris. France. 2014
Available for touring. Get in touch.
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.
– Penn og papir? Du gjør det på gamlemåten, ser jeg.
Stanza er en av kunstnerne som stiller ut under kunst- og teknologibiennalen Metamorf. Her er tradisjonelle intervjuredskaper avleggs. Det blinker og durer fra titalls små lys og propeller inne på visningsrommet til Trøndelag senter for samtidskunst. På gulvet ligger det et nett med ledninger, høytalere og elektroniske komponenter som sammen ligner en storby sett fra fugleperspektiv. Britiske Stanza er en internasjonalt anerkjent kunstner som blant annet var en av de første til å bruke internett i kunstnerisk øyemed. Han har brukt ti år på å utvikle skulpturen «The Emergent City» til det den er i dag.
Gjør det at kunsten din fort kan bli veldig abstrakt? Egentlig ikke. Jeg skjønner at det kan oppfattes slik, men skulpturen behandler dataen den mottar og gjør denne lesbar, sier han, og forteller at skulpturen opererer på to nivå: Det første er det rent estetiske, det skulpturelle. Det andre nivået er det performative, hvordan Trondheim og byens innbyggere påvirker kunsten. Det er ikke selve teknologien, men det den registrerer, som er viktig. Kunsten er ikke her inne i dette visningsrommet, den er der ute, sier kunstneren og peker mot glassfasaden og gatelivet utenforStørre enn storebror Et viktig aspekt ved Stanzas kunst blir dermed at den foregår i sanntid.Dette blir noe annet enn det å se «Mona Lisa», for eksempel. Der har du et uforanderlig verk i fastsatte omgivelser. Jeg bruker blant annet overvåkningskameraer fra London i denne installasjonen, som gir direkte bilder av hva som skjer i byens gater, forteller han. Et annet sentralt tema er nettopp overvåkning og skillet mellom det private og det offentlige rom. Ideen om panoptikon, det at én eller få personer kan overvåke mange, blir aktualisert. Verkene mine kommenterer forskjellige fremtidsrettede scenarioer. Mennesker overøses i stadig større grad med informasjon, hele tiden. Jeg mener at vi må bli flinkere til å lese denne informasjonen fortere og forstå hvilken rolle hver enkelt spiller i denne sammenhengen, sier Stanza. Han beskriver et scenario der alt en person foretar seg når hun går ut av døren, hver eneste handling, bevegelse, lyd og vibrasjon, blir sporet, overvåket og kartlagt. Verden vi lever i er mye mer kompleks enn George Orwells opprinnelige visjon om at storebror ser deg. This is the Mother of Big Brother, slår Stanza fast.
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