Chris Meigh-Andrews is an artist, writer and curator and currently Professor of Electronic & Digital Art in the school of Creative and Performing Arts at the University of Central Lancashire. He has been exhibiting his video and installation work internationally since the late 1970’s and has held numerous artist-in-residence posts in the UK, Canada and Europe, most recently as Arts Council of England International Artist Fellow at Galeria Sztuki WspÛlczesnej in Krakow during 2003/04. Meigh-Andrews’ commissioned and site-specific installation work often features renewable energy sources including wind and solar power and he was the recipient of a research award from the National Endowment of Science, Technology and the Arts (NESTA) in 2004 as part of a commission to develop the prototype for a self-powered outdoor video installation in Grizedale Forest. His most recent installation, The Monument Project (Si Monumentum Requiris Circumspice), commissioned by architects Julian Harrap, produces a continuous stream of panoramic images from the top of the Monument in the City of London. Meigh-Andrews has also initiated and curated a number of major international exhibition events including The Digital Aesthetic (2001) and Digital Aesthetic 2 (2007) in collaboration with the Harris Museum, Preston and Analogue: Pioneering Artists’ Video from the UK, Canada and Poland (1968-88), presented at Tate Modern and Tate Britain, and touring to venues in Liverpool, Norwich, Warsaw, New York, Toronto, Ottawa, Valletta and Berlin with funding from Arts Council England, the Polish Cultural Commission and the Canada Council. He recently co-curated Yes Snow Show, showcasing recent digital work of renowned Canadian artist Michael Snow at the British Film Institute in London. In 2010 he was awarded a Diawa Foundation travel grant to visit Tokyo, Kyoto and Nagoya to research into early artists' video in Japan. His book, A History of Video Art: the Development of Form and Function which provides an overview of the development of video as an art form since its inception in the early 1960’s, is published by Berg (Oxford & New York, 2006) and in Japan by Sangensha, Tokyo, 2011. He is currently working on an enlarged and updated edition due to be published in 2013.