Genomixer

This is an articulating DNA structure, a genetic sculpture telematically controlled from the internet using a special interface. This is an articulated networked sculpture/stucture which responds to unique user input data. The work uses specialised materials and display technologies that have been adapted to create this work.
   

A building whose construction is based on your genetic identity.

This is an articulating DNA structure, a genetic sculpture telematically controlled from the internet using a special interface. This is an articulated networked sculpture/stucture which responds to unique user input data. The work uses specialised materials and display technologies that have been adapted to create this work.

This space created is where the invisible manifests in 3D form. Genetic information will provide the basis for this organic system, a responsive data - networked real environment. The architecture of the system is responsive to your dna it is responsive to you , you become embedded in the DATA flow itself; you will be the system. The user, as DNA, becomes the image, the system , the sculpture, the space. The user is the interface to him/herself.

Using DNA input data to control the unique responsive environment. This information is translated into 3d emergent systems thereby creating a personalised dna large scale sculpture. The purpose is to understand how personalised data from across the internet can be mediated and affect the environment around us.

I have already made online protoypes using my own DNA data and 3d visual mappings, these are presented as a generative emergent sequence. Small scale prototypes of these evoke the work and are used as a basis to develop anarticulated work using responsive materials.

Once built we will see a space with unique patterns and shapes, that move around as you move around, that are based on your dna, that have been input into the online system. These shapes will be changed via motion and sensor control. The sensor ie, camera tracking position control, temperature control will mediate the flow of data output onto the displays.

The work focuses the merging of the human interface with new architectural philosophies, networked intelligent data and new materiality.

To date, I have researched the process of DNA profiling, also to explored and research potential materials and technologies and extend working relationships with key partners. By using my DNA data to create a responsive 3 d environment I am dealing with the aesthetic interpretations of the data and how to both understand and assimilate this data into a responsive space.

The work is an articulated, responsive structure controlled via an internet interface from collected dna input data. To engage with this work the user must participate in a number of ways, not only as a passive observer but also as an active 'creative user'. The user is directly related to the shifting audio visual language that moves only when the user moves and shifts with the works. The choices are made by the user, but clearly the aesthetics are defined by me, the artist. The use of specific types of sounds, colours, patterns and lines are all defined parameters within each work. Only by engaging with the work do you determines what you will see. Within the genomixer interactive works, each user thus creates their own artwork, and more importantly the artwork becomes increasingly co-dependent on the user and their input or interaction.

I have already established links and partnerships with UCL, and also Vector Foiltec Architecture, who will enable this research. A number of specific DNA tests have been carried out for me by scientist Mandy Fisher at Hammersmith Hospital, and these tests have given me my own DNA data to begin work with.

I have already used my DNA data to make some protoypes of these virtual artworks and these will form the basis for a constructed space that I will make in collaboration with Vector Architecture.

To do this I will be exploring the potential with their 'EFTE' texlon cladding in conjunction with sensors and micro electronics. This is a fantastic opportunity to develop this and how these might be used in the public domain.

The result will see a space with unique patterns and shapes that move around as you move around that are based on your data. These shapes will/can be changed via motion and sensor control. The sensors can be camera tracking, position control, temperature control, will all mediate the flow of data outputs to the displays. The work focuses the merging of new architectural philosophies, networked intelligent data and new materiality.

Stanza is an internationally recognised artist, who has been exhibiting worldwide since 1984. His artworks have won prestigious painting prizes and ten first prize art awards including:- Vidalife 6.0 First Prize. SeNef Grand Prix. Videobrasil First Prize. Stanzas art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and a Clarks bursary award.

See www.genomixer.com for my work to support this. As you can see from this site there area number of works (all audio visual interactive works) that support this idea of making a real space. These represent prototypes and research into the making of this new project.

And see. www.vector-foiltec.com and the buildings they have made using this type of materiality.

"This work as an exploration of the human body represented by data within space. The proposed work explores the artistic and technical opportunities in the in the merging of these areas. This work develops the understanding and enhancement of real and virtual space as intelligent responsive environments. It also enables new aesthetic perspectives, experiences and perceptions within architectural / data spaces.

BACKGROUND to this idea.

In light of The 50th anniversary of the DNA discovery by Watson and Crick genetic information is an area of science which is of great public intertest and topicality. This aim of this project is to produce online 3d working models using real information and to explore the use of this information in creating a real responsive 3d environment..

The documentation will be provided in the form of :-

- Online works which can also be viewed by an online audience.
- 3 d models that I will have made.
- Photograph and sounds.
- I will be documenting the meetings and discussions and also flag other avenues to research that may come from these meetings.
- The forum will allow my open audience to feed back into the project and fuel the debate.

Evaluation will play a continous role within the project. The nature of evaluation will necessarily be summative and formative, in that my primary aim is to explore all the possibilities to find how best to exploit the technologies from each of the disciplines involved: science, art and architecture. The online diary will constitute one avenue of this continuous evaluation in that (a) meetings will be sumarised, opinions cited and consequential action will be planned and (b) progress will be logged.

As all work and progress will be published online, abundant evidence for evaluation is readily available to an open audience: the Forum will provide an opportunity for their feedback on the quality and direction of the project while also providing evidence for quantitative evaluation.

My personal objectives for this project, against which all evidence will be evaluated are:

- Distinction of creativity and of co -authorship.
- The technology will work.
- The dissemination of the information will be generous ie, all online open source.
- The user is the content and content is articulated by the user.(long term)
- Navigable structures combined automative and generative systems
- The work produced must be affecting as well as effecting.


In addition, my criteria for success includes that we shall produce a real small model which is responsive to my data. This piece will be somewhere between a sculpture and an architecture. Ultimately this project will lead to a formative evaluation as to whether and how to go about the development of this project into full lifescale. The final report will also be presented online and additionally I intend for information to be shared via exhibition, performance and conference presentation. (I currently use all these methods in exposing my art projects - )

 

DNA building 2003

Stanza dna blood
   


I became intertested in the human genome project in Spain 2000, during my residency there as part of the "Cell Culture".This was a six week invitation, with a group of international artists. The brief was to explore the relationship between art and science, and to this end I explored a variety of research projects based in San Sebastian. During the residency I was introduced to various aspects of genetic research by experts in the field including Lori Andrews. Since then I have developed an number of online specific artworks around this theme. (see--www.genomixer.com). Some funding for the some research and development has been supplied by Future Physical London, and the Digital Arts Lab, Holon. My work involves making sonic and visual mappings based on data I receive, using generative emergent code to make visualisations and artworks.

So the genomixer artworks are online audio visual generative experiences based on DNA data.

These artworks involve many facets of new digital creativity.

The work.

--Uses movement, sound, text and image
--crosses borders between artistic, technological and scientific sectors
--involves co-authored or inter authored creation processes from other specialists
--can be used in a number of forms / formats - and web, gallery and CD-Rom
--pieces for the web can be based in telematics (can be adapted for this)
--allows the engagement of the public/audience as a creative user.


I have been working as an artist for twenty years and for the last eight years I have published all of my audio visual works online through a series of individual projects. Most of these online projects have been invited for exhibition in digital festivals around the world, and in the last three years these works have won 5 first prizes (most recently Senef Grand Prix, Korea 2002). Please see CV for comprehensive list of url’s, exhibitions, performances and conference presentations.

Overview

This work involves making sonic and visual mappings based on data I receive that then uses generative emergent code to make visualisations and artworks. The ‘user’ can control these evolving pieces through movement. Or, they can simply watch the piece change itself, in a generative way. These works can also be installed into 'real' environments using sensors to trigger the interactivity within the work.

(1). I am interested in the idea of the body as code and architecture, and the emergent systems of code that exist in DNA. I want to create comparative emergent systems to make artworks. These systems will require the input of unique DNA data to function. This will form the basis of an organic system, responsive data networked future system. Architecture becomes ‘Artitecture’, and leaps into a future dimension.

The user as DNA become the image, the system, the sculpture and the building.

this isn’t a proposal yet for a genetic building, a whole host of modifyable possibilities are within reach. If the dna is architecture, you will be embedded in the DATA flow itself, ie, you will be the system. I am researching how my DNA data might be used to create such unique responsive environments. I then want to investigate how this information might be translated in 3 d emergent systems with the long term aim of createing a personalised dna large scale structure.

The idea is to make an articulated structure which responds to unique user input data. I am looking at various material and display technologies in an attempt to adapt and create this. Using my own DNA data (provided via links with UCL) I will first make some 3d visual mappings, and present these online, as a generative emergent sequence. I then want to make some small scale rapid prototypes of these as fixed models, to use as a basis to develop an articulated work using responsive materials. I will experiments with polymers and material that responds to data input. I will make experiments linking this up to my live dynamic data flow. I will be working closely with Vector Architecture who have agreed to collaborate, specifically to explore materials and structures .

These are the aspects which need to be addressed.

Some leeway to this timetable may be required as proceedure will be dependent on the results from tests and meetings.

TIMELINES

Set up new partition online specific to this project, to include diary, forum and online gallery.
Get the tests completed and make documentation…
Check data and evaluates its uses. …
Process result (make system) and update the website….
Build 3D virtual models and place online….
Experiment with sensors and micro electronics. Data input and output.
Evaluate and update site….
Make an e screen…see if other polymers might be adaptable.
Draw up plans for a real structure and material.
Evaluate and update site. ….
Make a small scale model…….
Put sketches and working models online in the website for public dissemination ….dec
Conclusions, evaluations, final report…
Exhibition, performance and conference presentations, to be arranged throughout

The online diary will be udated weekly to document plans, process, developments, modifications and collaborators feedback.

(3) Evaluation will form a vital part of the research project; at each stage new information, professional opinion, progress and hinderances will necessarily inform the choices for the following steps in the project’s development. ie the project will be modified by outcomes. Evaluations will be qualitative (ie does this material satisfy my needs? How does public opinion view my ideas?) and quantitative (ie Am I working within budget? Am I keeping to timescale?).

As all work is to be documented online, my process of evaluation will be presented and updated on a weekly basis. I maintain an open source philosophy and believe in sharing all information and knowledge for dissemination by all. This is why I publish all my work online. Documentation will be provided in the form of the diary, forum and online gallery, providing also a platform for evaluative feedback from an open audience in addition to my own evaluations and those recorded from meetings.

In addition to these summative / formative assessments of the project’s development it will be necessary to make substantial evaluations regarding the successful outcome of the projects.


Points against which I will be measuring the project are:

- Distinction of creativity and of co -authorship.
- The technology will work.
- The dissemination of the information will be generous, ie all online open source.
- The user is the content and content is articulated by the user.(long term)
- Navigable structures combined automative and generative systems
- The work produced must be affecting as well as effecting.

(The works must be affecting as well as effecting. This has also become a key and central point to my current philosophy. I use this to mean that the works must have more than just effect for effect sake. It should be infused with a central concept and philosophy. The concept for this work will also evolve as the research is undertaken).

In addition, my criteria for success includes that we shall produce a real small model which is responsive to my data. This piece will be somewhere between a sculpture and an architecture.

Ultimately this project will show me whether and how to go about the development of this project into full lifescale. The final report will also be presented online and additionally I intend for information to be shared via exhibition, performance and conference presentation. (I currently use all these methods in exposing my art projects )

Stanza uses computers to develop expressive possibilities between himself and his audience. And, underlying his simple interfaces and seductive forms are sophisticated formal and technical structures, such as software agents, custom hardware and complex networking. His self-generating&Mac226; artworks contain the essential pleasure of digital playfulness, while also approaching deeper issues about people and information networks. This singular process of participation and inquiry can be scaled to large networks or to individual users, and it can also support live performances and large-scale installations.

Stanza brings extensive knowledge to artworks that explore visual abstraction, aesthetic experimentation and information networks. By actively engaging with social spaces, his screen-based works are both participatory and aesthetic. This blend of direct interaction with strong content grasps formal, experiential and contextual issues simultaneously. His influences are numerous from extensive travel and research, and he is aware of his contemporaries working in many fields, such as art, design, music, computers, architecture and robotics. His formal concerns show astute awareness of history and culture.

Stanza’s approach to the technology where a simple interface provides easy access to complex, living data strikes a balance between materials and context. While technology fuels utopic ideas and endless hype, this artist assumes a pragmatic, but challenging position. Overall, Stanza’s work triggers an active perceptual field (visual, spatial, auditory and tactile) that can reframe the context of viewing art. Stylistically and conceptually unique, this work evokes a sense of abundant, maleable data that increasingly fills our reality. Essentially, this artist uses his tools, his process and his context to explore an active interior where he and viewers and machines all communicate together.

Stanza’s interactive digital artworks from the past decade relate to wide ranging technical and cultural concerns. Since 1994, he has produced numerous bodies of digital interactive work. There is also a whole body of work encompassing twenty years development and production into the urbanity of cities. The idea has always been to go deeper into analogies for the organic identity of the city. The city as code, emergent knowledge and memory mapping. The micro city becomes an organic networks of grids and diagrams. Project titles include:- Inner City , Photocity, CCITYV, Soundmaps, Sonicity. The project "soundcities" is completely made up of found sounds from the thousands of samples I collected worldwide. Another project is CCITYV; a project about surveilance and online security. Selected webcam feeds are collected from cities around the world in real time. These real time images are fed into a software system where a series of specialised channels rework these images. The channels are always on, and always changing, a constant view of world cities changing and evolving around the clock. CCITYV uses specially created software and technology to randomly travel the globe and integrate the images from the cameras.


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