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First in a series of 4 online exhibitions by collective And Or. Command Plus with Molly Morin and Nia Davies was the first online exhibition by collective And Or, running from February-June 2014. For this inaugural show, And Or brought together art, text, poetry and design by a web of collaborators including Molly Morin, Nia Davies, Nora O Murchú and Alice Poulalion to create a cycle of interactive work and response that confounds the distinction between text and image.

This special issue of the journal Photography & Culture (volume 14, issue 3) calls for the development of research into the various local and global political circumstances that have influenced the absorption of historical photographs into the realm of digital heritage, alongside the study of the digital photographic heritagization practices triggered by this very process. Presenting case studies from Australia, Britain, Israel, Palestine, Russia and South Africa, it analyses how historical photographs, digital heritage, and cultural conflicts have become interlocked in multiple countries around the globe since the post-Cold War rising prevalence of digital technology, global interconnectedness, and liberal democracy. These related conditions, it is suggested, have informed the growing digital heritagization of historical photographs and the methods used for their digitization, safeguarding and dissemination. Therefore, as a whole, the special issue argues that the confluence of historical photographs and digital heritage must not be understood as a mere response to technological progress but as an articulation of politically-charged aspirations to capitalize on the common association of photographs with the past, to administer approaches to differing cultural values in a time of imposing liberal-democratic politics of consensus.

De Montfort University (DMU) is host to the International Centre for Sports History and Culture (ICSHC). The Road to Rio is a project devised to innovate an international network of experts on the cultural history of Brazilian football and the globalisation of the World Cup. For instance, DMU has recently signed a memorandum of agreement with ICSHC alumni, Andre Megale, who has established the first Brazilian Institute on the History of Sports. The ‘The Road to Rio’ involves the ICSHC as a hub of historical and cultural analysis on the upcoming Brazil 2014 World Cup and 2016 Olympic and Paralympics Games. The ICSHC is uniquely placed to provide historical context for contemporary Brazilian mega events. This is a catalogue for an exhibitions at the National Football Museum, Manchester (NFM). In addition, an academic conference at the BL and a public lecture series at the NFM will maximise the public impact of our research to national and international audiences. The focus of the world’s gaze on Brazil as a sporting innovator is not new. The first three Fédération Internationale de Football Association (FIFA) World Championships were relatively small affairs hosted in 1930 by Uruguay; Italy in 1934 and France in 1938. The 1950 Brazil World Cup showcased the global reach of modern football as a media spectacle more extensively than at any previous point in history, also in a context of economic growth, cultural modernity and political challenges. The idea for a football world cup grew out of the popularity of Olympic football tournaments; an increasing number of international competitions and improved communications networks in global sport. This booklet uses twenty four key items in the collections at the National Football Museum to tell the history of the competition as it has grown and moved across the world. We hope that you enjoy this approach but recognise that this selection of items is idiosyncratic and you may well have made other choices. This booklet and the related exhibition is not intended as a definitive history of the World Cup from 1930-2014 but designed to raise awareness of the social and cultural reach of the tournament as it has evolved into a mega event. At the first Fédération Internationale de Football Association (FIFA) World Championship in 1930 played in Montevideo, Uruguay the only European teams were Belgium, France, Romania and Yugoslavia. The second World Championship was hosted by Italy in 1934 and the third was held in France in 1938. The first three FIFA World Championships were therefore relatively small affairs but immediately popular with the public and the media. The first post-war World Cup held in Brazil in 1950 therefore showcased the global reach of football more extensively than at any previous point in history. Subsequent World Cups show strong modernistic designs influenced by space and satellite technologies, increased technological specialisation and more intense commercialisation. Items like the Vuvuzela, the sound of the 2010 South Africa World Cup, reflect a national public image on a world stage.

The exhibition toured to four venues: the Northern Gallery of Contemporary Art, Sunderland (2014), Chawton House Library, Alton (2014), John Hansard Gallery, Southampton (2014), People’s History Museum, Manchester (2015-2016) The exhibition was co-curated by Isabella Streffen and Alistair Robinson, with Peter Knight, Paul Crossthwaite and Nicky Marsh. It was funded by the Arts and Humanities Research Council, Arts Council England, the University of Manchester, the University of Southampton, the University of Edinburgh. Show Me The Money was the first exhibition to propose a broad historical overview of how the image of finance has changed over the last three centuries, and how it might be imagined in the future. It frames finance as a problem of knowledge, analysing the cultural, emotional, libidinal and even mystical factors that animate financial markets to demonstrate how they are shaped, mediated and made by visual and verbal rhetorics, and protocols of representation, genre narrative and iconography. It explored the origins and continuing dominance of the myth of the rational market, revealing in material terms the idea that markets are not governed by immutable economic laws but are socially, culturally and historically constructed. The exhibition comprised 72 art works (including new commissions) and 35 artefacts from the period 1698 to 2014.

poem about the past and present of Leicester

poem about the past and present of Leicester

One of four temporary, online exhibitions developed by The And Or Project between 2014-2019. Exhibition developed with artist Sara Schnadt for The And Or Project.

One of four exhibitions by And Or. This exhibition was remixed as 'Pacific Binaries Redux' alongside the article 'Pacific Binaries Remixed: the photographic book in digital times, co-authored by Streffen, Archino and McSherry in VASA Journal on Images and Culture (Vienna, 2016). For this new online exhibition, And Or presents a photographic series on Los-Angeles by Berlin-based artist Anya Schaffner, documenting the last days of iconic Angeleno twilight, prior to the city's shift to more environmentally-friendly LEDs. This web-based show features new writing from Alison J Carr, Roddy Lumsden, Monica Steinberg and Isabella Streffen, accompanying and intersecting with Schaffer's first foray into the digital.

Edited commissioned anthology, ninth in series of ten by Cobra Press. Four short experimental texts responding to the 'Calais Crisis' COBRA Committee meetings and the refugee crisis in Europe.

Luci Eldridge and Meg Rahaim were asked by Phoenix to make new work exploring the relationship between digital and print for this two-person exhibition. It took place as part of Leicester Print Workshop’s Small Print International. Whether rural or urban, peopled or desolate, landscape is encountered on-screen through the cybernetic eyes of drones, web-cameras and robotic explorers. Such imaging devices enable us to take part in a form of virtual travel, allowing us to witness the unknown or traverse the familiar through an unfamiliar eye. Distances shrink with progress and the development of technology invites us to look in ever more detail at distant reaches of the universe. Yet these views of landscape remain partial and immaterial, manipulated and stratified, flattened and framed by technologies we do not fully comprehend. An ongoing fascination with how landscape is represented by digital technologies is what drives the individual practices of Luci Eldridge and Meg Rahaim. Be it a pixelated flourish of cloud algorithmically rendered in the sky above Google Street View or the distant landscape of the planet Mars imaged by NASA’s rovers, landscape as a 360-degree physical experience is reconstructed via these imaging devices, withdrawn into a flat two-dimensional image. Using printmaking as a practical and conceptual methodology, the digital is overturned in favour of the handmade as a means to reposition oneself within landscapes that are often distant and remote. Through analogue photography, etching, collage, and handmade textile techniques both artists offer contemplations on innately familiar landscapes, that would otherwise remain trapped within the digital space of the screen.