Stanza

The Nemesis Machine

via highlike submit

source: stanzacouk

The Nemesis Machine is a large installation (adapted to each place where it is displayed) that is a miniature city. It visualises life in the metropolis on the basis of data transmitted from London. So the city constructed in Bruges using electronic components reflects in real time what is happening on the other side of the Channel. Small cameras show pictures of the visitors so that they become part of the city.

A Mini, Mechanical Metropolis Runs On Real-Time Urban Data. 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.

At the heart of Stanza’s work lies his interest in the urban environment, the networks of cameras and sensors to be found there, and the associated issue of privacy and alienation. He is particularly interested in the patterns we leave all over the place. In how we consciously or unconsciously influence each other, and also the degree to which technology may in future take over control of our own bodies and our presence in the city.
“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 it to give it a wider meaning. I want to show that you can do something positive with this data. And as I say data is the medium of the age and I use this data to ‘paint’ with ”
“From Big Brother to the Mother of Big Brother.”
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source: vimeo

　这个由主板和电脑芯片组成的微型都市是英国艺术家Stanza最新的数据驱动装置，叫作 “复仇女神机器”（The Nemesis Machine）。在这座微型都市里所发生的一切（包括交通工具和摩天大楼上忽明忽暗的灯光）都是根据分布在伦敦各地的网络传感器收集的实时数据和人类活动而定的。一个个照相机甚至可以将观众的人像传送到这些“摩天大楼”的屏幕上，让观众真正成为这座微型都市的一部分。
　　因此，这座微型城市会随着真实都市的变化而变化，就像游戏者手下所操控的游戏人物那样。“这个装置不仅仅是简单的单用户之间的互动，而是展现出一种实时监测的画面，形成一种实时的城市状态的转化。”于是，观众在布鲁日博物馆（Arentshuis Brugge Museum）里欣赏这座微型城市的同时，也得以看见了远在175英里之外的伦敦。
　　近30年间，Stanza的作品不仅作为艺术品在世界各地的博物馆展出，还应用到城市实时监测、大数据收集、城市规划等多个领域。在布鲁日博物馆的展览会一直持续到5月10日。
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source: tecnoxplora

Luces, cámaras y una acción protagonizada por los habitantes de una ciudad. Aunque recuerde a ‘El show de Truman’, en realidad todo guarda más parecido con el Londres que Orwell dibujó en ‘1984’ fusionado con la futurista Los Angeles de ‘Blade Runner’. Bienvenidos a ‘The Nemesis Machine’, la pequeña ciudad de la vigilancia.

En esta ciudad en miniatura expuesta en la ciudad de Brujas, los altos edificios no son sino torres de circuitos, luces y cables en las que no hay habitantes: su única misión es recordarnos que estamos siendo controlados constantemente.

“Creo que es bastante obvio que vivimos en la cultura de la vigilancia, si no en el estado de la vigilancia”. Así resume Stanza, el artista británico que ha creado esta ciudad en miniatura, el objetivo de su obra: recordar a los visitantes que estamos rodeados de sensores que monitorizan hasta el más pequeño detalle de nuestras vidas.

Aunque la instalación se encuentre en Brujas, ‘The Nemesis’ Machine es en realidad una ventana a Londres en tiempo real gracias a los sensores instalados en la capital británica para medir parámetros ambientales como la temperatura o la humedad.

Cada uno de los edificios de la ciudad creada por Stanza está conectado a un sensor londinense diferente: lo que pasa en Londres se refleja de una forma muy peculiar en la ciudad de la vigilancia

La ciudad de los espíasLa ciudad de los espías | Foto: Agencias
Las luces de ‘The Nemesis Machine’ no paran de encenderse y apagarse mientras, de fondo, se escuchan extraños sonidos y algunos artefactos se mueven de forma intermitente. Todo porque a cientos de kilómetros algo ha cambiado en la capital británica: cuando esos parámetros ambientales sobrepasan un valor concreto en la ciudad del Támesis, en la réplica creada por Stanza se enciende la luz de un edificio, suena un zumbido o gira un pequeño molino.

Controlados

El hormigón de los edificios ha sido sustituido por silicio y, por si fuera poco, las gigantes pantallas publicitarias londinenses en ‘The Nemesis Machine’ emiten lo que sucede en otro punto de la ciudad controlado por cámaras.

El Gran Hermano de ‘1984’ hubiera sido muy distinto en pleno siglo XXI. Más allá del control ambiental de las ciudades por medio de sensores, Stanza propone una reflexión sobre cómo nuestro amor por la tecnología nos ha llevado a estar voluntariamente controlados.

Así, los dispositivos que conocen nuestra ubicación y miden nuestro ritmo cardíaco (como en el caso del Apple Watch), mezclados con casos de espionaje como el protagonizado por la NSA, son la base sobre la que este artista británico pretende hacernos pensar, ofreciendo simplemente una vista de pájaro de esta ciudad cibernética: nos vigilan y todos esos sensores que forman la internet de las cosas no hacen sino recoger aún más información sobre nuestras vidas, poniéndola a disposición de gobiernos y grandes compañías, haciendo así realidad el escenario imaginado por Orwell (pero con mucha más tecnología).

No se trata solo de que los países o los grandes de internet sepan todos y cada uno de los detalles de nuestra vida (dónde estamos, qué buscamos en la Red, qué compramos…); además, la simple existencia de esta información y la posibilidad de que los ciberdelincuentes accedan a ella pone en peligro la intimidad y la seguridad de los ciudadanos.

Londres aún no es la de ‘1984’ y nuestras ciudades en nada se parecen a la de ‘Blade Runner’, pero sensores y ‘wearables’ hacen que el Gran Hermano sea casi una realidad. “De aquí a 50 años, ¿qué tratarán de construir los ejecutivos de Google?”, se pregunta Stanza.
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source: turbulenceorg

Constanza Silva is a new media artist who creates complex interactive environments where sound and robotic are the essential elements of a connected network. Silverfish Stream is her most recent artwork and, according to the author, ‘it is a sensual, poetic, exploration of the potential of human-machine interaction’. Two aluminum spheres equipped with sensors occupy the physical space of a gallery, ready to react to inputs. The presence of the viewer modifies their initial state of immobility and becomes the input for the movement that seems to be autonomous. The two spheres roll on the floor interacting together like in a pas de deux choreography, but with a certain level of unpredictability caused by their slight unevenness and ridges. The viewer seems to be excluded from the movement, while he is the source of energy and an active part of the scene. The sound generated by the friction of the metallic robots against the floor, like that created by the contact between man and machine, is registered, altered and played in real time by the spheres, each with its own tonality, and amplified in the room. What is generated is a stream of multisensory information (visual, auditive, tactile), natural environment for mechanic creatures. Being the robots non-anthropomorphic clarifies the aim of Silva that is focusing the direction towards which the technological innovation is oriented within the human-machine interaction that is not a reproduction of human beings relations but a new kind of interaction.
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source: moliorca

Constanza Silva is a new media artist who creates complex, sound and robotic environments by setting minimal forms in motion within networked, interactive systems. Since 1995, she has integrated performance, video, sound, and electro-mechanical elements to explore embodied experience and agency within natural, technological and political ecologies. The environments she creates are dynamic fields in which the concrete and the incorporeal—metal forms, fleshy bodies, information and sensation—pass into and transform each other.

Silva holds an MFA from Concordia University, Montréal and a BFA from the Emily Carr Institute of Art and Design in Vancouver. Her works have been exhibited in Vancouver, Toronto and Montréal. Over the last decade she has participated in numerous projects, exhibitions and performances, some of which include: Iguana/Iguana Confirmed (2004) Techno experimentations in gallery, DARE-DARE, Montréal; Sin ruido, en memoria (2002), Transito, Marché Bonsecours, Montréal; and Flagrante Delicto (2001), Planet In Focus, the Toronto International Environmental Film and Video Festival. She has received awards from private foundations, the B.C. Arts Council, le Centre interuniversitaire des arts médiatiques, and the Canada Council for the Arts. Silva was born in Colombia and raised in Canada. She is currently working and residing in Montréal.