Thomson-Craighead at Studion

Moderna Museet invited Mejan Labs to curate two installations by the British artists Thomson & Craighead. This solo exhibition was in Studion at Moderna Museet, Stockholm. Works included: BEACON when it is shown as a data projection in a gallery. As with the online version and railway flap sign, live web searches are continuously relayed as they are being made around the world -in this case onto a gallery wall in series and at regular intervals as an endless concrete poetry. Decorative Newsfeeds use a live feed from the web to present up to the minute headline news from around the world as a series of pleasant animations, allowing viewers to keep informed while contemplating a kind of readymade sculpture or perhaps an automatic drawing.

e-poltergeist

E-poltergeist takes over the user’s internet browser, automatically initiating Web searches without their permission. Web-based artwork which explores issues of user control when confronted with complex technological systems, questioning the limits of digital interactive arts as consensual reciprocal systems. e-poltergeist was a major web commission that marked an early stage of research in a larger enquiry by Craighead and Thomson into the relationship between live virtual data, global communications networks and instruction-based art, exploring how such systems can be re-contextualised within gallery environments. e-poltergeist presented the 'viewer' with a singular narrative by using live internet search-engine data that aimed to create a perpetual and virtually unstoppable cycle of search engine results, banner ads and moving windows as an interruption into the normal use of an internet browser. The work also addressed the ‘de-personalisation’ of internet use by sending a series of messages from the live search engine data that seemed to address the user directly: 'Is anyone there?'; 'Can anyone hear me?', 'Please help me!'; 'Nobody cares!' e-poltergeist makes a significant contribution to the taxonomy of new media art by dealing with the way that new media art can re-address notions of existing traditions in art such as appropriation and manipulation, instruction-based art and conceptual art. e-poltergeist was commissioned ($12,000) for 010101: Art in Technological Times, a landmark international exhibition presented by the San Francisco Museum of Modern Art, which bought together leading international practitioners working with emergent technologies, including Tatsuo Miyajima, Janet Cardiff, Brian Eno. Peer recognition of the project in the form of reviews include: Curating New Media. Gateshead: Baltic Centre for Contemporary Art. Cook, Sarah, Beryl Graham and Sarah Martin ISBN: 1093655064; The Wire; http://www.wired.com/culture/lifestyle/news/2000/12/40464 (review by Reena Jana); Leonardo (review Barbara Lee Williams and Sonya Rapoport) http://www.leonardo.info/reviews/feb2001/ex_010101_willrapop.html All the work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, Slade School of Fine Art.

CNN Interactive just got more interactive

Interactive gallery installation which playfully re-contextualised online news feeds from CNN’s website with a soundtrack of found music in order to comment on an online environment where 'serious' news and trivial 'infotainment' often occupy the same space. ‘CNN Interactive just got more interactive’ aimed to investigate the balance between information and ‘info-tainment’ on the web. It demonstrated how the authority and presence of global news corporations online could be playfully subverted by enabling the audience to add a variety of emotively titled soundtracks to the monolithic CNN Interactive website. The project also explored how a work could exist dually as website and gallery installation. ‘CNN interactive’ contributes to the taxonomy of new media art as a new form of contemporary art. One of the first examples in the world of a gallery installation using live Internet data, it is also one of the first attempts in a new media art context to address how individuals respond to and comprehend the changed nature of the news as an immediate phenomenon as relayed by network communications systems. 'CNN interactive’ continues Craighead and Thomson’s research into how live digital networked information can be re-purposed as artistic material within gallery installation contexts but with specific reference to online-international news events, rather than arbitrary data sources (see e-poltergeist, output 1). ‘CNN Interactive’ was commissioned by Tate Britain for the exhibition ‘Art and Money Online’. This was the first gallery exhibition in Tate Britain featuring work that utilised and explored new media as an artistic area, and the first work commissioned by the Tate to operate simultaneously as an online gallery artwork. Selected reviews and citations include ‘Digital Art’ by Christiane Paul, 2003; ‘Internet Art: The Online Clash of Culture and Commerce’ by Julian Stallabrass. (2002); ‘Thomson & Craighead’ by Lisa Le Feuvre for Katalog Journal of Photography and Video, Denmark. All work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, (Slade).

Beacon

Artwork using Internet search engine technology to make people’s online desires, interests and orientations visible, presenting random search term enquiries in a variety of forms including a railway information sign, an art gallery installation and an online website. activity, curiosity and desire. The project sampled and analysed how ‘search terms’ were used by the public as live data. It then re-presented them on a website, in a gallery and latterly on a bespoke mechanical railway flap-sign, thus creating a snapshot of online enquiry at any give time. Beacon’s originality lies in the manner in which it has taken abstract digital data and found different expressions for it. Thus the work extends debates in media arts that focus on purely virtual and online expressions of data, by developing online information into new non-digital material forms and contexts such as railway signs. This research has been developed over a three year period. Initially with software only and then on receipt of AHRC small grant (£5000) with the lauded Italian manufacturer Solari of Udine, Italy and BFI Southbank. It represents the culmination of a body of research that asks whether live data can be used as material to make artworks. Beacon was specially developed for the Tate Britain programme 40 artists 40 days, produced in conjunction with the UK Olympic Games bid and intended to “create a unique countdown calendar that will focus attention on Britain’s exceptional creative talent”. The project is exhibited by the Tate website ‘Tate Online’ presently in perpetuity. The gallery version of this work is currently held in five private collections in the USA and is shown regularly in galleries around the world. The railway flap-sign is owned by BFI Southbank and will eventually be sited there permanently. All work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, (Slade).

Short films about flying

Online artwork which streams web-cam images live from the Internet and re-mixes them into disjointed narrative sequences, thereby producing cinema as a 'found object' made entirely of live material streamed from the internet. ‘Short Films about Flying’ is an online film which explores how a cinematic work can be generated using live material from the internet. The work is driven by software that takes surveillance video from a live camera feed at Logan Airport, Boston, and combines this with randomly grabbed audio from the web and texts taken from websites, chat rooms, message boards etc. This results in an endless open edition of unique cinematic works in real-time. By combining the language of cinema with global real-time data technologies, this work is one of the first new media artworks to re-imagine the internet in a different sensory form as a cinematic space. ‘Short Films about Flying’ was developed over the course of a year in collaboration with Jon Thomson (Slade) to explore how the concept of the found object can be re-conceptualised as the found data stream. It has informed other research by Craighead and Thomson, such as the web project http://www.templatecinema.com, and began an examination into relationships between montage and live virtual data –an early example of which would be ‘Flat Earth’, an animated work developed for Channel 4 in 2007, with the production company Animate. This piece has been cited in discussions on new media art, as a significant example of artworks using a database as their determining structure. It was acquired for the Arts Council Collection and has continuously toured significant international venues over the last 4 years. Citations include:’ Time and Technology’ by Charlie Gere (2006); 'The Wrong Categories' by Kris Cohen (2006); 'Networked Art - Practices and Positions' edited by Tom Corby (Routledge 2005) and Grayson Perry in The Times (9.8.06).

Flipped clock

Flipped Clock is a working modified digital clock. Although it tells the current time, every digit has been rotated by 180 degrees. In doing so, the act of telling the time is once again rendered unfamiliar to us, reminding us of its artifice and almost invisible authority.

Decorative news feeds

This is the latest semi-permanent outdoor version of, 'Decorative Newsfeeds' and is located at The Junction Theatre in Cambridge, UK. Rather than a projection, the work is displayed here on three bespoke colour LED screens intergrated into the architecture of the building and visible in direct sunlight.

Beacon

BEACON continuously relays live web searches as they are being made around the world presenting them back in series and at regular intervals as an endless concrete poetry. The beacon has been instigated to act as a silent witness: a feedback loop providing a global snapshot of ourselves to ourselves in real-time.

Unprepared piano

In Unprepared Piano, a Yamaha disklavier grand piano is connected to a database of music MIDI files appropriated and compiled from all over the web. This library of electronic scores is then “performed” automatically according to a simple set of rules.The musical scores found online contain a wide variety of instrumentations and are not generally intended simply for piano, so our Unprepared Piano is told to perform each piece from beginning to end by randomly picking and choosing from its different parts.

Decorative news feeds; beacon

'Decorative Newsfeeds' use a live feed from the web to present up to the minute headline news from around the world as a series of pleasant animations, allowing viewers to keep informed while contemplating a kind of readymade sculpture or perhaps an automatic drawing.

Flat Earth

Flat Earth is a desktop documentary, which takes the viewer on a seven minute trip around the world so that we encounter a series of fragments taken from real peoples' blogs. These fragments are knitted together to form a kind of story or singular narrative.

Beacon; Horizon

Horizon is a narrative clock made out of images accessed in realtime from webcams found in every time zone around the world. The result is a constantly updating array of images that read like a series of movie storyboards, but also as an idiosynratic global electronic sundial. BEACON continuously relays live web searches as they are being made around the world presenting them back in series and at regular intervals as an endless concrete poetry.

London Wall

London Wall is a physical manifestation of the invisible city all around us; a poetic snapshot of social networking traffic from within a three-mile radius of the Museum of London. Over a ten-day period, publicly available status updates from popular websites like twitter and facebook will be selected then published as a vast array of A3 posters pasted onto a wall in the museum's foyer, revealing the idle mutterings of ourselves to ourselves as a form of concrete poetry. This commission is in the foyer and is part of relaunch the museums new galleries.

Short Film about War

A Short film about War is a narrative documentary artwork made entirely from information found on the worldwide web. In ten minutes this two screen gallery installation takes viewers around the world to a variety of war zones as seen through the collective eyes of the online photo sharing community Flickr, and as witnessed by a variety of existing military and civilian bloggers. As the ostensibly documentary 'film' plays itself out, a second screen logs the provenance of images, blog fragments and gps locations of each element comprising the work, so that the same information is simultaneously communicated to the viewer in two parallel formats -on one hand as a dramatised reportage and on the other hand as a text log. In offerring this tautology, we are attempting to explore and reveal the way in which information changes as it is gathered, edited and then mediated through networked communications technologies or broadcast media, and how that changes and distorts meaning -especially for (the generally wealthy minority of) the world's users of high speed broadband networks, who have become used to the treacherously persuasive panoptic view that google earth (and the worldwide web) appears to give us.