Stanza AKA  Steve Tanza (aka Stanza

The Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis is an ever evolving artwork, always different and always expanding.

A multi layered art installation incorporating concepts of data ownership, surveillance, real time space, urban environments as well as systems based metaphors. The artwork creates a tension that operates critically between utopian optimism and dystopian dysfunction. The machine is both acting to liberate us through technology with overtures to open processes, while at the same time making us complicit in its restrictive system of control.  We have by default become complicit in the global surveillance machine that appropriates us (the users) as units of data to be harvested for some sort of gain. The artwork has grown as a multi layered expression of technology based futures incorporating big data, privacy, liquid surveillance and control. It now also embeds as part of its evolution a continuous focus on the way we seek to control our space through any new technology. What are the questions this art asks of the world? Underpinning this digital artwork, 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 Nemesis Machine is like Big Brother parsed through the lens of the Internet of things. It gives visitors a bird's eye view of a cybernetic cityscape, where skyscrapers are constructed of silicon and circuit boards. The Nemesis Machine asks how new technologies can 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 will these technologies as the machine suggests control us, separate us, divide us, create more borders as the machine spreads to encompass the whole world. This city governs itself and its actions and intelligence is completely controlled by data based on the interactions and flows of data. The Nemesis Machine becomes a mini, mechanical metropolis that monitors the behaviours, activities, and changing information, of the world around us using networked devices and electronically transmitted information across the internet. The parts of the city act as a frame for the different expression of data and information which is being expanded as the digital artwork develops. The artwork represents the complexities of the real time city as a shifting morphing and complex system. It visualises life in the metropolis on the basis of real time data transmitted from a network of wireless sensors. In essence the artwork is an digital emergent city, a hybrid internet of things (IoT) installation. The artwork you see is a city of electronic components that reflect in real time what is happening elsewhere. Small screens show pictures of the visitors so that they become part of the city. In this sense the city and the artwork are one and the whole artwork functions as an algorithmically coded city observing its real world double.

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 we see performs itself through an-other city. Cause and effect become apparent in a discreet, intuitive manner. When certain events occur in the real city they 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 artwork reforms this data creating parallel realities. 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. Including facial recognition, local sensors, IOT smart city networks, surveillance cameras, a news feed, Twitter feed, WIFI scanning and machine learning API system tracking change in global pollution data. Utopian or Dystopian?

In the gallery. The work can be shaped formally on a plinth or be placed directly on the floor.

Technology. The installation makes use of wireless sensors, wireless scanning technologies, surveillance networks, facial tracking and big data. All this combines to create all the agency and action in the artwork. In other words the lights, motors, and sounds only happens because of events occurring in the real space.

  • A custom made multi mesh network of environmental sensors that send data in real time to the artwork.
  • A camera based surveillance with several hidden cameras inside the artwork.
  • There is also another local layer of sensors; which includes systems for measuring by pollution gases no2, co2, o2, and alcohol.
  • There are also the possibility to incorporate several screens showing other types of city data.
  • There is also the option to tack the visitors across the venue and the city and use this data also.


This artwork is available for exhibitions please get in touch. It is always different for each installed set up and is evolving dependent on the situation it becomes exhibited in. In the gallery the work can be shaped formally on the floor or also grow into different shapes and spaces.

Scale and Size depends on the venue. The installation is variable in several approximate sizes and is customised for each room.

There are now three versions each perform in different ways or A B C can all be combined..

A. Small (12 - 24metres)
B. Medium complex version..... 3m by 8m. (24 metres)
C. Large version (50 metres..... 7m by 8m or 5 by 10m). (Has several data areas se top image)
D. Extra Large version (100 metres -150 metres square). (PDF available for curators please ask)

Further Development. I would also like to make a much bigger version <=> four times as big. If you can fund this it could be 15m by 15m up to 200 square metres and larger the exact nature of this would depend on the space and would it have several new areas built in. Curators please speak to me about this.

Exhibitions. (it is different every time it is exhibited and new developments can be incorporated and customised at each venue)

Videos Below.

Stanza AKA  Steve Tanza (aka Stanza


THE ‘DISTRICTS’ OF THE CITY. Nemesis - Authenticity - Soundcities - Diversity - Electricity - Toxicity - Omnicity - Publicity - Simplicity - University - Multiplicity - Velocity - Capacity

The Nemesis Machine. How does it feel to be part of the real time flow of a global system? What happens when we mix data typed across the landscape? 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. The sensors include light, temperature, noise, sound and humidity. We live in a world of continual surveillance, how are we complicit in this dialogue? A network of small screens and micro cameras capture the visiting audience inside the space and around the installation in real-time, embedding this visual information back into the artwork to involve us all as temporary participants or citizens engaging with the city.

Electricity. How can we experience the invisible agency and performativity of all our connected devices? 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.

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

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

Publicity. The news and current affair from media shapes our understanding of the wider world yet we are bombarded with images of news and information streams that have created an infobesity as we struggle to remain connected. 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.


Velocity. Imagine if everyone was tracked in real time; can we create a performative event with our agency to reclaim public space? Open data from his brand new phone app is shared in real-time via GPS, allowing anyone to contribute and become involved in a huge collective participatory artwork inside The Nemesis Machine

Capacity. The participatory experience is explored further in a dedicated skyscraper integrates eight mini screens, which are gathering and displaying citizen contributions from Twitter as scrolling text. This feature is specifically focused on the conversation customised to the area about inclusive cities, by gathering citizen contributions with the customisable hashtags.

OPTIONAL ( sometimes also exhibited)

Soundcities. Sounds is all around us as a landscape of musical flow.  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 fieldd recordings of urban environments through a bespoke audio-visual interface built inside this cityscape.

Simplicity. As everything is tracked and technology  spreads across the public domain. What are we gaining  if anything as we look closer at real time patterns in the city the create complex maps. A representation of published transit data from Transport for London, which shows the rapid adoption payment gateways inside the city in this case across the capital.

University. Embracing a site as a ‘temporary city’, a custom data visualisation showing the collective flow of 80,000 representative visitors - temporary citizens.

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

Stanza AKA  Steve Tanza, Stanza




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

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

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

The Machine fuses analogue and digital worlds by using real time data feeds that connects to the physical city to create an avatar city while at the same time making it global through the flows of networked data across the internet. The city machine become alive and of itself. This parsing of real time data systems becomes a critique of liquid surveillance networks that a whole city can be seen all at once from a variety of perspective lenses.


The Nemesis Machine focuses on the aspect of the so called 'smart' city as a space for the parsing of (any /all) data. So how can you make meaning of this liquidity? and how can it be of any common benefit? Or will it be at the expense of something else? as perspective shifts ground. This digital artwork further questions how we consciously or unconsciously influence each other, and the degree to which technology may in future take over control of our own bodies and our presence in the city. The machine speculates that virtual borders will soon create more systems of anxiety and control.


The project The Nemesis Machine actually started under my project title The Emergent City as practise based research and the data visualisation called Sensity. Therefore The Nemesis Machine has now been in development since 2006 and many various iterations have been made and released, which been exhibited in numerous ways with varying sizes.

Steve Tanza aka Stanza

Image from La Filature 2022. Here 100 m square.. (Largest Version D)

Steve Tanza aka Stanza

Image from La Filature 2022. Here 100 m square. (Largest Version D)

Steve Tanza aka Stanza

Image from La Filature 2022. Here 100 m square. (Largest Version D)

Steve Tanza aka Stanza

Image from La Filature 2022. Here 100 m square. (Largest Version D)

Steve Tanza, AKA Stanza

Image (C) image Stanza (Size 72m)


Watch the four videos. ( the top one explains the work)

THE NEMESIS MACHINE in Mulhouse at LA FILATURE, France. from Stanza on Vimeo. (approx 10 metres square) With explanation of the work.

THE NEMESIS MACHINE in Cardiff, Wales. from Stanza on Vimeo. (approx 40 metres square)

The Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis In Bruges Museum Belgium (small version)

The Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis. Hacking Habitat Version In Holland (medium sized version 24m approx)


The Nemesis Machine in Warsaw (Larger Version) ( 5 m by 10m )

The Nemesis Machine suggests a global panoptic experience of connected devices which is oscillates between a cyberpunk dystopian nightmare to a utopian social enagement perspective of embedded technologies as the machine seeks to become ecumenopolis. This data flows like a liquid, the capital system of which we are now co-conspirators or co-laborators. The age of privacy is over. 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 Stanza current artworks go further towards inviting the city and the people that inhabit it to populate and become the artwork. From the previous generative and interactive art such as The Central City, (1997) the artworks have moved to open systems that collect and re-appropriate real-time data to create multifaceted ‘urban tapestries' such as the Urban Generation (Stanza, 2004). 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 onwards). What I am is doing, is hacking access to a network and re-appropriating the data and information. By re-contextualizing it to give data as property wider meaning; "data is the medium of the age. The real world is made virtual and then real again across the internet".

Steve Tanza , Stanza artworks

Images from Maquina Loca Canal Connect Madrid Spain . (large version)

Steve Tanza , Stanza artworks

Images from Maquina Loca Canal Connect Madrid Spain . (large version)

Steve Tanza. art , city, surveillance

Image from Poland Warsaw. 2017 (the size here is 10 m by 5 m) ie 50 m square.

 Steve Tanza (aka Stanza


Steve Tanza, art, city, surveillance, data.

Images from Warsaw Poland Beyond Seven Exhibition. (large version on 50 Metre base)

Steve Tanza, surveillance art, data visualisation.

Shots from Beyond The Seven in Warsaw. 2017

Steve Tanza , Stanza ,data, surveillance, smart city

Image from Wroclaw Poland. Stanza at WRO 2017 (large version on 45 Metre base)

Steve Tanza , Stanza, art, city, surveillance, data.

Steve Tanza, art, city, surveillance, data.

Wide angle lens view of 64 sq metre version. 2018 ) large vestion.

Steve Tanza, city, surveillance, data.
Steve Tanza, art, city, surveillance, data.
Stanza made with computer parts
Steve Tanza , art

Steve Tanza, art, city, surveillance, data.

Steve Tanza

FOS Festival of Speed Goodwood UK Curated by Lucy Johnston 2019 (with overhead projection system)

Steve Tanza, art, city, surveillance, data.

FOS Festival of Speed Goodwood UK (with overhead projection system)

Technical Details

Stanza has been researching wireless sensor networks, smart cities and the internet of things since 2004. He uses motes sensors in a network. Stanza deploys custom built software that gathers data and places the data online via a java proxy server. The data used to create the visualizations is also made available in an open source environment. The various sensors monitor temperature, sounds, noise, light, vibration, humidity, and GPS in real time.The artwork has local sensors that monitor the gallery as well as the city, embedded cameras and live data feeds.


Steve Tanza , art, Stanza real time data installation Hacking Habitat
Images from Hacking Habitat exhibition Holland curated by Ine Gervers. Medium sized version.

Steve Tanza, art, city, surveillance, data.

Images above from Medium Version shown in Slovenia.

Steve Tanza and  the city of bits.
data visualisation ,  IOT

Stanza, art, city, surveillance, data.

Busy dense City version. Medium version with very compact layout. CUBO Unipol version 2019 Italy

Underlying conceptual theme. The artists proposition:-

  • 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 world; all of this affects the installation ie; 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.


Steve Tanza

Details of some towers.


Stanza, art, city, surveillance, data.

Detail of large version.
Steve Tanza
Stanza real time data installation
Steve Tanza real time data installation

Steve Tanza, art, city, surveillance, data.

Hacking Habitat Art of Control Utrecht Netherlands curated by Ine Gervers. 2016

POLISH. O warszawskiej wystawie Centrum Sztuki WRO rozmawiałyśmy z Anną Desponds w 13. odcinku dwutygodnikowego podkastu ODBIORNIK. Wystawa stworzyła przemawiającą i mroczną wizję przyszłości – lub alternatywnej rzeczywistości – w Domu Słowa Polskiego. 7 prac w gigantycznej ciemnej przestrzeni starej drukarni złożyło się na wizję świata, w którym nie ma już ludzi, ciał, drzew, i to nie szkodzi, bo to, co jest, działa na zupełnie innych zasadach. Jest jak wspólna świadomość w buddyzmie, tylko tu to wspólnota danych, jak w instalacji Stanzy „The Nemesis Machine. From Metropolis to Megalopolis to Ecumenopolis”. Była to makieta Londynu stworzona w całości z elektronicznych komponentów i sieci komunikacyjnych – płyt głównych i obwodów. To miasto wizualizuje w czasie rzeczywistym dane płynące z sieci londyńskich czujników, które monitorują temperaturę, dźwięki, hałas, światło, wibracje, wilgotność powietrza oraz sygnał położenia GPS. Umieszczone w instalacji kamery pokazują wizerunki zwiedzających, dzięki czemu oni również stają się częścią tego wielkiego organizmu-miasta. Świat przyszłości zużył nie tylko planetę, ale połknął też człowieka, by stać się nową formą świadomości. Jakoś tam tego człowieka nie brakowało specjalnie.

GERMAN. The Nemesis Machine ist ein Kunstwerk, das sowohl unser Verhalten als auch den Datenstrom über vernetzte Geräte und über das Internet abbildet. Die Nemesis-Maschine wird dabei zu einer großen Installation, die an jedem Ort, an dem sie ausgestellt wird, angepasst wird. Im Fall der CYNETART jedoch nicht an Dresden oder die Gartenstadt Hellerau, sondern an Hong Kong. Das Kunstwerk stellt die Komplexität des Ortes in Echtzeit dar, als ein sich veränderndes und komplexes System. Es visualisiert das Leben in der Metropole auf der Basis von Echtzeitdaten, die von einem Netzwerk drahtloser Sensoren übertragen werden. Die Arbeit ist eine Stadt der elektronischen Komponenten. Es spiegelt in Echtzeit wieder, was anderswo passiert. Kleine Bildschirme zeigen Bilder von den Besuchern, so dass diese Teil der Stadt werden.

SLOVENE. The Nemesis Machine je mini mehanska metropola, ki nadzoruje obnašanja, delovanje in spreminjanje informacij v svetu okoli nas. Za ta namen uporablja povezane naprave in elektronsko mediirane informacije poslane preko interneta. The Nemesis Machine je postala velika inštalacija, ki je prilagojena in prirejena vsakemu prostoru kjer je razstavljena. Umetniško delo predstavlja kompleksnost realno-časovnega mesta kot spreminjajoč kompleksni sistem. Na osnovi realno-časovnih podatkov, sprejetih preko mreže brezžičnih senzorjev vizualizira življenje v metropoli. Umetniško delo ki ga vidite, je mesto elektronskih komponent, ki realnem času odsevajo kaj se dogaja drugje. Majhni zasloni kažejo slike obiskovalcev, tako da tudi te postanejo del mesta. Umetniško delo preobliči te informacije in podatke ter ustvari paralelne realnosti. V osrčju tega dela leži interes za urbano okolje; mreže kamer in senzorjev, ki se nahajajo v njem, ter povezana vprašanja zasebnosti in kontrole. Umetniško delo je presečišče konceptov pametnih mest, interneta stvari (The Internet of Things – IOT) in novih tehnologij, ki nadzorujejo realno-časovno okolje. V izgledu je the Nemesis Machine kot Veliki Brat (Big Brother) razdeljen skozi lečo (perspektivo) interneta stvari. Obiskovalcem ponuja ptičji pogled kibernetske mestne perspektive, kjer so nebotičniki zgrajeni iz silicija in vezij. Podatki in njihove interakcije – dogodki, ki se dogajajo v okolju, ki obkroža in omejuje inštalacijo – so spremenjeni v silo, ki animira mesto v življenje s povzročanjem premikanja in spremembe; oziroma drugače, spremenjeni so v nove dogodke in dejanja. Na ta način mesto igra samega sebe v realnem času preko svoje fizične poosebitve ali elektronskega dvojnika. Mesto katerega vidimo igra samega sebe skozi drugo mesto. Vzrok in posledica postaneta očitna na diskreten in intuitiven način. Ko se neko dejanje zgodi v resničnem mestu, povzroči da se drug dogodek zgodi v njegovem popolnoma drugem, a popolnoma vključenem dvojniku. Poosebitveno mesto ni zgolj kontrolirano s strani resničnega mesta v smislu funkcije in operacij, ampak je popolnoma odvisno od njega za svoj obstoj. Umetniško delo se prav tako osredotoča na to kako zavedno ali nezavedno vplivamo drug na drugega in na stopnjo, do katere bo tehnologija v prihodnjosti, prevzela kontrolo nad našimi telesi in prisotnostjo v mestu. To je mesto kjer ni zasebnosti. The Nemesis Machine se sprašuje kako lahko nove tehnologije predstavijo svet, v katerem smo osvobojeni in opolnomočeni; kjer ta tehnologija končno postane več kot zgolj domislica in začne resnično delati za nas. Ali pa nas bodo, kot stroj to nakazuje, te tehnologije kontrolirale, delile, razdvajale in ustvarjale več meja.

DUTCH .Gangmaker voor “Triënnale Brugge 2015” STANZA’S 'THE INTELLIGENT CITY': WE ZIJN GEZIEN!

Vanaf 20 mei komen ongetwijfeld interessante, leuke, pittige antwoorden op deze vragen. Een interessante denkpiste werd eerder dit jaar al geopend door de Amerikaanse Ellen Harvey. Deze had vanuit New York gemerkt dat Brugge vlak bij zee ligt en dat daar nooit gewag van gemaakt wordt. Velen lijken het niet te weten, of zijn het vergeten. Niet zo de Brugse burgemeester (tevens schepen voor cultuur, toerisme en de haven). De haven is een meerwaarde, maar het Brugse strand blijkt niet geliefd. Harvey zette in het Groeninge sowieso een knappe expo op. Andere creatievelingen met naam en faam waren ondertussen al in de stad en zijn momenteel ideeën aan het uitwerken. Ook Brugse culturele verenigingen springen in de dans en “indoor” zal ook een en ander te zien zijn. Zoals momenteel in het Arentshuis. De Londense kunstenaar Stanza, sinds decennia gefascineerd door de problematiek verstedelijking, privacy en vervreemding, palmt er een ruimte in voor zijn “stad van de toekomst”. Een grootstad in het klein, opgebouwd uit niets dan computeronderdelen. Maar liefst 14 dagen had hij in Brugge nodig om zijn stad van de toekomst op te bouwen. Strakke, monotone hoogbouw en overal schermpjes waarop cijfermateriaal aantikt, talloze lichtjes die ononderbroken aan- en uitflikkeren, en dit alles gegenereerd door “data” die in real-time vanuit zijn Zuid-Londens sensorennetwerk komen. Voorts betrekken kleine camera’s de bezoeker in het geheel. Aan de wanden een reeks schilderijen (prints) waarin wegen en rivieren dermate verkleind zijn dat ze eigenlijk fraaie, maar tegelijk bizarre soorten abstracte schilderijen reveleren.

In de brochure lees ik: “The Nemesis Machine: van metropolis tot megapolis tot oecumenopolis”. Dit klinkt me wat onheilspellend in de oren. Is Nemesis immers niet de Griekse godin van de weerwraak? Stanza bouwt, creëert en verbindt, maar laat een opening voor de bezoeker: zullen we er in de (verre?) toekomst in slagen de technologie voor ons te laten werken of gaan de nieuwe technieken ons beheersen, verdelen, van elkaar vervreemden en nog meer grenzen scheppen? Een jonge bezoeker uit Berlijn vertelt ons dat hij normalerwijs niet zou schrikken van zo’n “futuristische” installatie, maar dat hij dat na twee dagen Brugge blijkbaar wél heeft gedaan. Verrassend blijkbaar zo’n beeldende, met de realiteit verbonden suggestie in de aloude stede. Even heeft Stanza wat tijd om te filosoferen. Dat elke auto die Londen vandaag binnenrijdt geregistreerd wordt, dat steden naar elkaar toe groeien, op elkaar gelijken, dat in Londen pubs plaats maken voor…kerken. Dat ook digitaal de kloof rijk-arm almaar groter gaat worden.” In de hal staat “Body 0100001001101111011001000111001”, een sculptuur gebaseerd op een 3d-scan van de kunstenaar en gemaakt van leds, motors, kabels en speciaal ontworpen elektronica. “The Body…” reageert op verschillen in temperatuur, licht, luchtdruk, geluid, zoals ze zich voortdoen in Zuid-London, waar Stanza’s sensoren-netwerk zich bevindt. De Body blijft tot 18 oktober, maar wie “The Intelligent City” wil zien heeft maar tijd tot 10 mei. Johan DEBRUYNE “Stanza - The Intelligent City”, Arentshuis,


SPANISH Nemesis Machine – From Metropolis to Megalopolis to Ecumenopolis es una obra de arte en constante evolución, siempre diferente y siempre en expansión. Se trata de una instalación polisémica que integra conceptos como la propiedad de los datos, la vigilancia, el espacio-tiempo real y los entornos urbanos. Por defecto, nos hemos convertido en cómplices de la máquina de vigilancia mundial que se apropia de nosotros, los usuarios, como unidades de datos que recabar para obtener algún tipo de beneficio, económico o social. La obra se desarrolla en tanto que una expresión a distintos niveles de un futuro basado en la tecnología con representaciones de big data, confidencialidad, vigilancia y control continuo. La instalación ofrece a los visitantes una vista de pájaro sobre un paisaje urbano cibernético, en el que los rascacielos están constituidos con silicio y circuitos impresos. La máquina Nemesis se convierte en una minimetrópolis mecánica que supervisa los comportamientos, las actividades y los datos cambiantes del mundo que nos rodea con ayuda de aparatos conectados en red y de la información que se transmite electrónicamente a través de Internet. Las distintas áreas de la ciudad actúan como un marco para distintas expresiones de los datos y la información, que se expande a medida que se desarrolla esta obra de arte digital. La obra representa la complejidad de la vida urbana en tiempo real en tanto que se trata de un sistema complejo y evolutivo. Visualiza la vida en la metrópolis a partir de datos transmitidos en tiempo real por una red de dispositivos inalámbricos. En esencia, esta obra es una ciudad digital emergente, una instalación híbrida de Internet de las cosas. Las imágenes de los visitantes se retransmiten en unas pequeñas pantallas de forma que pasan a formar parte de la ciudad. En este sentido, la ciudad y la obra de arte son una sola cosa, y la obra de arte completa funciona como una ciudad de código algorítmico que observa a su gemela en el mundo real.


Shots from CYNETART. Vertical Installation in Hellerau Hall. Image from Dresden Germany 2018

Steve Tanza, art, city, surveillance, data.

Shots from CYNETART. Vertical Installation in Hellerau Hall. Image from Dresden Germany 2018 Large Version this is 65 m square

Smart city, IOT Internet of things , Dundee Contemporary Art, Stanza,
Dundee Contemporay Arts at Centrespace (VCR) NEoN. Dundee 2016 (above) Size of this install. 350cm by 530 cm ie 18.5 sq metres (gallery size 550cm by 730 cm)
Steve Tanza,  data. IOT
Dundee Contemporay Arts at Centrespace (VCR) NEoN. Dundee 2016 (above)

Stanza, art, city, surveillance, data. IOT

With some large taller towers.

Steve Tanza, data. IOT
Dundee Contemporay Arts at Centrespace (VCR) NEoN. Dundee 2016 (above)
Steve Tanza, IOT
Dundee Contemporay Arts at Centrespace (VCR) NEoN. Dundee 2016 (above) Curated by Sarah Cook.

Steve Tanza (aka Stanza)das Cubo Unipol. Italy. Seen here at 24 metre square. Curared by Marco Mancuso . ( Medium version)

DAS CUBO Bologna, Italy. Curated by Marco Mancuso 2019

das Cubo Unipol. Italy. Seen here at 24 metre square. Curared by Marco Mancuso . Steve Tanza

das Cubo Unipol. Italy. Seen here at 24 metre square. Curared by Marco Mancuso . ( Medium version)

Steve Tanza, artworks, cities , data ,

At Bruges Museum approx 16 metres square.

Stanza,  data artwork

Images from Bruges Musuem. Installed on Plinth. ( small version 16 metres square)

Installation at Bruges Museum 2015 with Stanza Digital Paintings. (below)

Surveillance art , sensor art project  Data Visualisation,
Steve Tanza Steve Tanza, art project

The Nemesis Machine.


Museum Of The Future. Enshcede Holland. Curated by Kees de Groot 2022
Vagamondes Festival La Filature, Mulhouse France. Curated by Benoit Andre 2022
Museum of Cyptography Moscow Russia,
Curated by Anna Titovets 2021
Les Nuits De L'Etrange La Filature, Mulhouse France Curated by Benoit Andre 2021
Centre Quatre 104 La biebnale Nemo Curated by Gilles Alvarez 2021
Jarvenpaa Art Musuem Finland Curated by Pinja Petaja 2021
Canal Connect, Madrid Spain Curated by Charles Carcopino 2021
The Kellen Gallery New York USA. Curated by Christiane Paul 2020
FOS Festival of Speed Goodwood UK Curated by Lucy Johnston 2019
DAS CUBO Bologna,
Italy. Curated by Marco Mancuso 2019
Ffoto Gallery Diffusion, Cardiff Wales. Curated by David Drake 2019
Cynetart Dresden Germany Curated by Ulf Langheinrich 2018
Speculum Artrium Decades Trbovlje Slovenia 2018
Measures Of Life Lumen UK Hull Curated by Lumen 2018
Future Festival Nesta UK London Curated by Ghislaine Boddington 2018
Beyond The Seven Warsaw Poland Curated by Piotr Krajewski 2017
York Art Gallery UK 2017
WRO Art Centre Wroclaw Poland 2017
The Internet of Things World Forum Cisco Systems. Tobacco Dock London 2017
Dundee Contemporary Arts at Centrespace (VCR) NEoN. Dundee Curated by Sara Cook 2016
Hacking Habitat Art of Control Utrecht Netherlands Curated by Ine Gervers 2016
The Intelligent City Arentshuis Bruges Museum 2015 Curated by Till Holger Borchert 2016
TSSK Trøndelag Centre for Contemporary Art. Metamorf Trondheim Norway. Curated by Espen Gangvik 2014
Centre des Arts d'Enghien-les-Bains Paris. France Curated by Emmanuel Cuisinier 2014
Watermans Gallery Brentford London. Curated by Irini Papadimitriou 2013
New Technological Art Award Ghent Belgium 2012
Share Festival Torino Italy 2012
Gogbot Festival Enshcede Holland. Curated by Kees de Groot. 2011
Lanternhouse UK. Curated by Andrea Hawkins 2010

Keywords: Online, data visualisation, artwork, system, generative, machine intelligence, surveillance, art, installation, AI, system city, IOT, smart city, panoptic aesthetics.

Credit artwork by Stanza


Steve Tanza aka Stanza

Image from Dresden Germany 2018 where it was approx 65 m square. Detail of installation. Laid onto floor directly. (Large Version)







Steve Tanza,  surveillance capitalisam, data visualisation.

Image from Cisco Systems IOT world fair 2017 Here 24 m square.