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).

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.

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).

Developing a Technoself System to Improve Lifelong Learning Engagement

Lifelong learning exists today in the context of a cultural and societal shift to a knowledge-based, technology-enhanced, and rapidly-changing economy. It has a significant impact on people���s lives and has become of vital importance with the emergence of new technologies that change how people communicate, collect information, and collaborate with others. The emerging technologies, such as social networking, interactive media and game technology, have expanded a new dimension of self ��� ���technoself��� driven by socio-technical innovations and taken an important step forward in lifelong learning through the Technology Enhanced Learning (TEL). The TEL encourages learners as producers to embed personalized knowledge and collective experience on individualized learning within professional practice. It becomes more personal and social than traditional lifelong learning, especially about the ���learning as socially grounded��� aspects. This paper studies the development of technoself system during lifelong learning and introduces technoself enhanced learning as a novel sociological framework of lifelong learning to couple the educational dimension with social dimension in order to enhance learner engagement by shaping personal learning focus and setting. We examine how people construct their own inquiry and learn from others, how people shift and adapt in these technoself-enhanced learning environments, and how learner engagement is improving as the involvement of learners as producers in lifelong learning. We further discuss the barriers and the positive and negative unintended consequences of using technology for lifelong learning.

Survival or Sustainability? Contributions of Innovatively-Managed News Ventures to the Future of Egyptian Journalism

In the repressive political climate prevailing in Egypt in 2013-15, news ventures aspiring to high standards of reporting were forced to innovate. This paper analyses three Egyptian start-ups that experimented with novel revenue streams and news services during that period, to gain insights into their approaches to managing journalism. In the process it compares different criteria for assessing sustainability and concludes that, in adverse political environments, narrow economic measures of profitability and survival may give a misleading picture as to the sustainability of the kind of journalism conducive to democratic practice. Operating collaboratively, transparently and ethically may slow productivity and profitability in the short term while laying stronger foundations for durable relations among media teams, as well as with readers and advertisers, in the long run.

Collaborative art activism ��� a UK perspective

Loraine traced the parallels and divergences between the art activism of Carole Conde and Karl Beveridge and herself, both in her solo practice and earlier work with artist Peter Dunn.

Policy Solutions and International Perspectives on the Funding of Public Service Media Content for Children: A Report for Stakeholders

This project on Policy Solutions and International Perspectives on the Funding of Public Service Media Content for Children began on 8 February 2016 and concludes on 31 May 2016. Its outcomes contribute to the policy-making process around BBC Charter Review, which has raised concerns about the financial sustainability of UK-produced children���s screen content. The aim of this project is to evaluate different funding possibilities for public service children���s content in a more challenging and competitive multiplatform media environment, drawing on experiences outside the UK. The project addresses the following questions: ��� What forms of alternative funding exist to support public service content for children in a transforming multiplatform media environment? ��� What can we learn from the types of funding and support for children���s screen content that are available elsewhere in the world ��� in terms of regulatory foundations, administration, accountability, levels of funding, amounts and types of content supported? ��� How effective are these funding systems and funding sources for supporting domestically produced content (range and numbers of projects supported; audience reach)? This stakeholder report constitutes the main outcome of the project and provides an overview and analysis of alternatives for supporting and funding home-grown children���s screen content across both traditional broadcasting outlets and emerging digital platforms. The report has been made publicly available, so that it can inform policy work and responses to the UK Government White Paper, A BBC for the Future, published by the Department of Culture, Media and Sport in May 2016.

Transformative realism: reflections of reality in political avant-garde and contemporary fine art film - Spanish Labyrinth, south from Granada

A turn towards documentary modes of practice amongst contemporary fine art video and filmmakers towards the end of the 20th Century, led to moving image works that represent current social realities. This drew some comparisons of these forms of art to journalism and industrial documentary. The practical research is embodied in a single screen film that responds to recent political and ecological realities in Spain. These include the mass demonstrations that led to the occupation of Madrid���s Plaza del Sol and Spain���s in 2011 and largest recorded forest fires that spread through Andalusia in August of the following year. The film, titled Spanish Labyrinth, South from Granada, is a response to these events and also relates to political avant-garde film of the 1930���s by re-tracing a journey undertaken by three revolutionary filmmakers, Yves Allegret, Ren�� Naville and Eli Lotar, in 1931. The theoretical research for this project establishes an historical root of artists��� film that responds to current social realities, in contrast to news media, in the Soviet and European avant-garde movements of the 1920s and 1930s. The main aim of this method is to argue the status of the works that I identify, both avant-garde and contemporary, as a form of art that preceded a Griersonian definition of documentary film.

Kahvehane Kongresspark

���Kahvehane (Coffeehouse) Kongresspark���explores the question of transcultural relations and belonging through an artistic exploration of coffee and its cultural history. The project was commissioned as an urban art intervention by the 'Soho in Ottakring' Biennial in Vienna. Organic and fair-trade coffee, sponsored by Kaffee Alt Wien , was served free of charge to the public in specially designed cups and saucers, which were created at the Ceramics Research Centre at the University of Westminster. The designs reflect coffee���s shared multi-ethnic history and the globalization of coffee.The project includes an interactive lecture-performance exploring the many legends about the origins of coffee tracing its journey from Ethiopia, the Arabian peninsula through the Ottoman Empire (Turkey) to Vienna and across the entire globe. While adopting a humorous take on the globalization of coffee, the performance sheds light on the history of colonialism and question the conditions of contemporary trade. The performance was written and performed in collaboration with Bharatanatyam artist and actor Shane Shambhu.

The Art of the State

When we talk of culture we are talking about a source of enormous historical social power. Why did the GLC commitment to Popular Culture upset the rules of the unelected arts and sports quangos? How did the now abolished GLC get politics into arts policy?

Mark E. Smith and The Fall: Art, Music and Politics

This is the first book of critical essays devoted to post-punk legends Mark E Smith and the Fall, examining the group form a number of different perspectives, including their relations with Manchester and the North, post-punk aesthetics cultural politics, fandom and contemporary media. As John Peel famously said, this group was 'always different, yet always the same', and deserving of more academic attention than they have so far received.

Sustainability and Community Networks

Community networks are IP-based computer networks that are operated by a community as a common good. In Europe, the most well-known community networks are Guifi in Catalonia, Freifunk in Berlin, Ninux in Italy, Funkfeuer in Vienna and the Athens Wireless Metropolitan Network in Greece. This paper deals with community networks as alternative forms of Internet access and alternative infrastructures and asks: What does sustainability and unsustainability mean in the context of community networks? What advantages do such networks have over conventional forms of Internet access and infrastructure provided by large telecommunications corporations? In addition what disadvantages do they face at the same time? This article provides a framework for thinking dialectically about the un/sustainability of community networks. It provides a framework of practical questions that can be asked when assessing power structures in the context of Internet infrastructures and access. It presents an overview of environmental, economic, political and cultural contradictions that community networks may face as well as a typology of questions that can be asked in order to identify such contradictions.