who's who in research visuAl Arts - Intellect
who's who in research visuAl Arts - Intellect
who's who in research visuAl Arts - Intellect
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<strong>who</strong>’s <strong>who</strong> <strong>in</strong> <strong>research</strong><br />
<strong>visuAl</strong><br />
<strong>Arts</strong>
<strong>who</strong>’s <strong>who</strong> <strong>in</strong> <strong>research</strong><br />
<strong>visuAl</strong> <strong>Arts</strong><br />
proof pleAse do not circulAte
<strong>who</strong>’s <strong>who</strong> <strong>in</strong> <strong>research</strong><br />
<strong>visuAl</strong> <strong>Arts</strong><br />
<strong>in</strong>tellect Bristol, UK / Chicago, USA
First published <strong>in</strong> the UK <strong>in</strong> 2011 by<br />
<strong>Intellect</strong>, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK<br />
First published <strong>in</strong> the USA <strong>in</strong> 2011 by<br />
<strong>Intellect</strong>, The University of Chicago Press, 1427 E.<br />
60th Street, Chicago, IL 60637, USA<br />
Copyright © 2011 <strong>Intellect</strong> Ltd<br />
All rights reserved. No part of this publication may be reproduced,<br />
stored <strong>in</strong> a retrieval system, or transmitted, <strong>in</strong> any form or by<br />
any means, electronic, mechanical, photocopy<strong>in</strong>g, record<strong>in</strong>g,<br />
or otherwise, without written permission.<br />
A catalogue record for this book is available<br />
from the British Library.<br />
ISBN 9781841504957
Rubedo<br />
Keywords<br />
Beatriz Acevedo<br />
Anglia Rusk<strong>in</strong> University, Lord<br />
Ashcroft Build<strong>in</strong>g, East Road,<br />
Cambridge, Bedfordshire, CB1 8PT,<br />
United K<strong>in</strong>gdom<br />
Keywords art, aesthetics,<br />
organizational studies<br />
Sophia Krzys Acord<br />
University of Florida, Center for the<br />
Humanities and the Public Sphere,<br />
200 Walker Hall, PO Box 118030,<br />
Ga<strong>in</strong>esville, Florida, 32611, United<br />
States of America<br />
Keywords embodied cognition,<br />
habitus, music, social <strong>in</strong>teraction, tacit<br />
knowledge, humanities, knowledge<br />
production, arts, <strong>in</strong>terdiscipl<strong>in</strong>arity<br />
› Round table discussion: The affects of the abstract image <strong>in</strong> film and video<br />
art, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 79-87.<br />
Beatriz Acevedo is a lecturer <strong>in</strong> susta<strong>in</strong>able management at Lord<br />
Ashcroft International Bus<strong>in</strong>ess School at Anglia Rusk<strong>in</strong> University,<br />
Cambridge, United K<strong>in</strong>gdom. Her <strong>research</strong> <strong>in</strong>terests concern the<br />
<strong>in</strong>tersection between art, aesthetics and organizational studies. She also<br />
utilizes ‘art’ as a way of understand<strong>in</strong>g complex social issues, such as<br />
the case of violence, discrim<strong>in</strong>ation, leadership, susta<strong>in</strong>ability and<br />
conflict.<br />
› Memories of Violencia <strong>in</strong> the work of the Colombian artist Doris Salcedo: A<br />
subjective view, Journal of <strong>Arts</strong> & Communities, 2.2, 153-170.<br />
Sophia Krzys Acord has arrived at sociology from a background <strong>in</strong><br />
theatrical design, musical performance and arts education. Her past<br />
<strong>research</strong> <strong>in</strong>cludes an ethnography of Parisian artist-squats and the study<br />
of artistic censorship <strong>in</strong> the United States and the United K<strong>in</strong>gdom. She<br />
received a Ph.D. <strong>in</strong> Sociology from the University of Exeter, where her<br />
dissertation on exhibition-mak<strong>in</strong>g practices among curators of<br />
contemporary art was awarded an 'Honorable Mention' by the<br />
American Sociological Association's annual dissertation prize<br />
committee <strong>in</strong> 2010. Her current work <strong>in</strong>terrogates knowledge<br />
production, <strong>in</strong>terdiscipl<strong>in</strong>ary collaboration and the impact of digital<br />
technologies <strong>in</strong> the humanities discipl<strong>in</strong>es.<br />
› Th<strong>in</strong>k<strong>in</strong>g with art: from situated knowledge to experiential know<strong>in</strong>g, Journal<br />
of Visual Art Practice, 6.2, 125-140.<br />
Clive Adams Clive Adams is Director of the Centre for Contemporary Art and the<br />
Natural World. He is a curator with a particular <strong>in</strong>terest <strong>in</strong> the work of<br />
artists which engages with nature. He started his career at the Arnolf<strong>in</strong>i,
Keywords curat<strong>in</strong>g, nature<br />
Joe Adu- Agyem<br />
Kwame Nkrumah University of<br />
Science and Technology (KNUST),<br />
Department of General Art Studies<br />
(Art Education), Faculty of F<strong>in</strong>e Art,<br />
College of Art and Social Sciences,<br />
University Post Office Box 50,<br />
Kumasi, KNUST, Ghana<br />
Keywords child art, Ghana,<br />
creativity, aesthetics, education<br />
Sean Aita<br />
Keywords theatre, act<strong>in</strong>g,<br />
performance<br />
Bristol <strong>in</strong> the 1970s, and his exhibitions have covered a period from the<br />
eighteenth century to the present day. The most recent are 'The<br />
Impossible View?' at The Lowry (w<strong>in</strong>ner of the Museums and Heritage<br />
Award for the best UK temporary exhibition of 2003) and 'The Art of<br />
White' at the Lowry until 17 April 2006.<br />
› 'Nature and I are Two', Journal of Visual Art Practice, 1.1, 56-.<br />
Joe Adu-Agyem is Head of Department and Senior Lecturer <strong>in</strong> the<br />
Department of General Art Studies (Art Education), the Kwame<br />
Nkrumah University of Science and Technology (KNUST). He holds a<br />
Ph.D (Documentation), a Masters degree and a postgraduate diploma <strong>in</strong><br />
Art Education as well as a BA (Art) degree <strong>in</strong> Sculpture, all from<br />
KNUST. He also has a three-year diploma <strong>in</strong> Art Education (Cape<br />
Coast University) and a four-year teachers’ certificate A (Kumasi). His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude documentation, aesthetics and criticism,<br />
<strong>research</strong> methodology, educational adm<strong>in</strong>istration/psychology,<br />
sculpture, secondary education and fashion design.<br />
› Enhanc<strong>in</strong>g children’s learn<strong>in</strong>g: the art perspective, International Journal of<br />
Education through Art, 5.2&3, 143-155.<br />
Sean Aita is a community theatre practitioner and academic. He is<br />
currently a senior lecturer <strong>in</strong> act<strong>in</strong>g at the <strong>Arts</strong> University College at<br />
Bournemouth. He is the former head of education and community at<br />
the Royal Theatre <strong>in</strong> Northampton and the artistic director of Forest<br />
Forge Theatre Company, develop<strong>in</strong>g performance and participatory<br />
projects for and with rural communities. As director of Forest Forge,<br />
Sean’s work was shortlisted for the Stage Awards for Achievement <strong>in</strong><br />
Regional Theatre <strong>in</strong> 2008.<br />
› An unobscured glow: Towards a def<strong>in</strong>ition of Rural Theatre, Journal of <strong>Arts</strong><br />
& Communities, 2.1, 55-63.<br />
Esra Akcan Esra Akcan is an assistant professor at the University of Ill<strong>in</strong>ois at<br />
Chicago. She received her architecture degree from Middle East<br />
Technical University and her Ph.D. and postdoctoral degrees from
University of Ill<strong>in</strong>ois, Chicago<br />
Keywords<br />
Jamal Al-Qawasmi<br />
K<strong>in</strong>g Fahd University for Petroleum<br />
and M<strong>in</strong>erals, Department of<br />
Architecture, PO Box 312, Dhahran,<br />
Saudi Arabia<br />
Keywords e-studio, digital design,<br />
architectural design education, CAAD<br />
Giorgio Alberti<br />
Keywords Eros, HermAfrEros, myths<br />
and mythology, archetypes, Carl<br />
Gustav Jung<br />
Columbia University <strong>in</strong> New York. She has taught at Columbia<br />
University, Humboldt University, the New School, Pratt Institute and<br />
METU. Akcan has received awards and fellowships from the Institute<br />
for Advanced Studies <strong>in</strong> Berl<strong>in</strong>, the Clark Institute, the Graham<br />
Foundation, the Getty Research Institute, the Canadian Centre for<br />
Architecture, the Mellon Foundation, DAAD, K<strong>in</strong>ne, and<br />
KRESS/ARIT. She is the author of (Land)Fill Istanbul, Çeviride<br />
Modern Olan, Architecture <strong>in</strong> Translation (forthcom<strong>in</strong>g) and Turkey:<br />
Modern Architectures <strong>in</strong> History (with Sibel Bozdoğan, forthcom<strong>in</strong>g).<br />
› Book Reviews, International Journal of Islamic Architecture, 1.1, 151-168.<br />
Jamal Al-Qawasmi obta<strong>in</strong>ed a B.Sc. <strong>in</strong> Architecture <strong>in</strong> 1987, M.Sc. <strong>in</strong><br />
Architecture <strong>in</strong> 1993, and a Ph.D. <strong>in</strong> Architecture <strong>in</strong> 1999 from Texas<br />
A&M. S<strong>in</strong>ce 1993 he has taught architecture and design comput<strong>in</strong>g <strong>in</strong><br />
several universities and is <strong>in</strong>volved <strong>in</strong> <strong>research</strong> and consultation. His<br />
experience lies <strong>in</strong> several fields related to computer applications <strong>in</strong><br />
architectural education and practice such as programm<strong>in</strong>g, draft<strong>in</strong>g and<br />
3D modell<strong>in</strong>g, photo-based 3D modell<strong>in</strong>g, render<strong>in</strong>g and animation,<br />
graphic design and image manipulation, panorama presentations, web<br />
development, e-learn<strong>in</strong>g, collaborative environments, virtual reality,<br />
stereo imag<strong>in</strong>g and virtual reality. His <strong>in</strong>terests <strong>in</strong>clude computermediated<br />
collaborative design, virtual design education and<br />
applications of virtual reality <strong>in</strong> architectural education. He has<br />
published numerous articles, is the found<strong>in</strong>g Chair of the Arab Society<br />
for Computer Aided Architectural Design (ASCAAD) and has<br />
organized five <strong>in</strong>ternational conferences <strong>in</strong> the field of computer and<br />
<strong>in</strong>formation technology applications <strong>in</strong> architectural design and<br />
education.<br />
› Digital media <strong>in</strong> architectural design education: reflections on the e-studio<br />
pedagogy, Art, Design & Communication <strong>in</strong> Higher Education, 4.3, 205-.<br />
After a Master’s degree <strong>in</strong> Civil Eng<strong>in</strong>eer<strong>in</strong>g and a Ph.D. <strong>in</strong> Informatics<br />
at the Swiss Federal Institute of Technology <strong>in</strong> Zürich (Dr. sc. techn.<br />
ETHZ) Giorgio Alberti has completed an MBA at the INSEAD <strong>in</strong><br />
Fonta<strong>in</strong>ebleau. After different positions <strong>in</strong> Management of<br />
Mult<strong>in</strong>ational Industries and Consult<strong>in</strong>g at <strong>in</strong>ternational level he is now<br />
owner of the AGB Strategy & Management Consult<strong>in</strong>g <strong>in</strong> Muralto-<br />
Locarno (Switzerland).
Sandra Alexander<br />
American University <strong>in</strong> Dubai,<br />
Sheikh Zayed Road, Dubai, United<br />
Arab Erimates<br />
Keywords Paul Cézanne,<br />
phenomenology, sense perception,<br />
embodied experience<br />
Mel Alexenberg<br />
College of Judea and Samaria, 36<br />
Lohamay Hageto Street, Petach<br />
Tikvah, 49651, Israel<br />
Keywords autoethnography,<br />
artographic enquiry, post-digital age<br />
realms of learn<strong>in</strong>g creativity, ancient<br />
schema, Kabbalah<br />
Dijana Alić<br />
University of New South Wales<br />
Keywords<br />
› Amores-Eros and Low Power Society, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 4.2, 75-78.<br />
Sandra Alexander (D.Phil, Oxford) is an <strong>in</strong>dependent scholar based <strong>in</strong><br />
Oxford. In 2002, she successfully completed her thesis focus<strong>in</strong>g on the<br />
themes of art, expression and historicity <strong>in</strong> the work of Merleau-Ponty.<br />
More recently, she has taught for Oxford Brookes University, acted as<br />
tutor for the Sarah Lawrence Programme based at Wadham College,<br />
Oxford. She currently works at the American University <strong>in</strong> Dubai.<br />
› Beyond 'Cézanne's Doubt', Journal of Visual Art Practice, 4.2, 97-110.<br />
Mel Alexenberg is an artist, educator, writer, and blogger work<strong>in</strong>g at<br />
the <strong>in</strong>terface between art, science, technology, and culture. His<br />
artworks can be seen at www.melalexenberg.com. They explore<br />
<strong>in</strong>terrelationships between the post-digital age and Jewish<br />
consciousness, space-time systems and electronic technologies,<br />
participatory art and community values, high tech and high touch<br />
experiences, responsive art <strong>in</strong> cyberspace and real space, and blogart<br />
and wikiart. His artworks explor<strong>in</strong>g digital technologies and global<br />
systems are <strong>in</strong> the collections of more than forty museums worldwide,<br />
<strong>in</strong>clud<strong>in</strong>g the Metropolitan Museum of Art <strong>in</strong> New York, the Jewish<br />
Museum <strong>in</strong> Prague, and the Israel Museum <strong>in</strong> Jerusalem.<br />
› Autoethnographic identification of realms of learn<strong>in</strong>g for art education <strong>in</strong> a<br />
postdigital age, International Journal of Education through Art, 4.3, 231-<br />
246.<br />
› Ancient schema and technoetic creativity, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 4.1, 3-14.<br />
Dijana Alić holds a degree <strong>in</strong> Architecture from the University of<br />
Sarajevo and a Ph.D. from the University of New South Wales<br />
(UNSW). She is currently a senior lecturer <strong>in</strong> Design, History and<br />
Theory <strong>in</strong> the Faculty of the Built Environment, UNSW, Sydney,<br />
Australia. Her <strong>research</strong> <strong>in</strong>terest focuses on the relationship between<br />
modernity and national expression <strong>in</strong> architecture, particularly <strong>in</strong> the<br />
context of post-World War II 'Eastern' Europe. Alić's work has been
Giovanni Aloi<br />
Roehampton University, Department<br />
of Media, Culture & Language,<br />
Erasmus House, Roehampton Lane,<br />
London, SW15 5PU, United K<strong>in</strong>gdom<br />
Keywords Vargas, Evaristti, Hirst,<br />
Abdessemed<br />
Leila Amaral<br />
Federal University of Juiz de Fora,<br />
Post Graduation Program of Religious<br />
Studies, Rua Marechal Deodoro, 268,<br />
CEP 36013-000, Juiz de Fora, Brazil<br />
Keywords anthropology, religion,<br />
technology<br />
Peter Amsel<br />
Keywords composition, mental<br />
illness, creativity, bipolar<br />
published <strong>in</strong> <strong>in</strong>ternational journals such as the Journal of the Society of<br />
Architectural Historians, Centropa, Journal of Central European<br />
Architecture and Related <strong>Arts</strong> and Open House International. Alić has<br />
participated <strong>in</strong> numerous national and <strong>in</strong>ternational conferences.<br />
› Book Reviews, International Journal of Islamic Architecture, 1.1, 151-168.<br />
Giovanni Aloi lectures <strong>in</strong> History of Art and Media Studies at<br />
Roehampton University, Queen Mary University of London, The Open<br />
University and the Tate Galleries. In 2006, he founded Antennae, the<br />
Journal of Nature <strong>in</strong> Visual Culture of which he currently is Editor <strong>in</strong><br />
Chief (www.antennae.org.uk). The journal comb<strong>in</strong>es a heightened level<br />
of academic scrut<strong>in</strong>y of animals <strong>in</strong> art, with a less formal and more<br />
experimental format designed to appeal to audiences of academics,<br />
artists and general public alike. Giovanni Aloi is currently <strong>research</strong><strong>in</strong>g<br />
the subject of ‘animal displays <strong>in</strong> contemporary art’ for his PhD at<br />
Goldsmiths, University of London.<br />
› The death of the animal, Journal of Visual Art Practice, 9.1, 59-68.<br />
Leila Amaral has a Ph.D. <strong>in</strong> Anthropology and is a guest <strong>research</strong>er at<br />
the Post-Graduation Program of Religious Studies of the Federal<br />
University ofJuiz de Fora, Brazil.<br />
› The festive character of cyber art, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.3, 255-265.<br />
Peter Amsel is a composer and writer <strong>who</strong> divides his time between the<br />
call of the muse and fac<strong>in</strong>g the ongo<strong>in</strong>g road to recovery from bipolar<br />
affective disorder, which he has been liv<strong>in</strong>g with for over twenty years.<br />
Peter has sought new mean<strong>in</strong>g <strong>in</strong> life through advocacy for patients'<br />
rights and through writ<strong>in</strong>g about issues perta<strong>in</strong><strong>in</strong>g to the mental health<br />
community. He is currently work<strong>in</strong>g on a book about mental health<br />
recovery, as well as a number of musical compositions. He is an active<br />
participant on Twitter where he can often be found as
Erica E. Ander<br />
Birkbeck College, University of<br />
London, Room G2, UCL Wolfson<br />
House, 4 Stephenson Way, London,<br />
NW1 2HE, United K<strong>in</strong>gdom<br />
Keywords health, curat<strong>in</strong>g, hospital,<br />
therapy, heritage<br />
Peter Anders<br />
Keywords cyberspace, cybrids,<br />
mixed reality, architecture, augmented<br />
reality architecture<br />
Åsa Andersson<br />
Leeds Metropolitan University, City<br />
Campus, Leeds, LS1 3HE, United<br />
K<strong>in</strong>gdom<br />
@CrazyComposer or, on a whimsical side, channel<strong>in</strong>g his cat as<br />
@MyCatSeuss. He contributed a chapter <strong>in</strong> Voices of Experience on<br />
personal recovery, published by Wiley.<br />
› Creativity and bipolar disorder: Liv<strong>in</strong>g with mental illness, Journal of<br />
Applied <strong>Arts</strong> & Health, 1.2, 215-221.<br />
Erica Ander is Research Assistant on the ‘Heritage <strong>in</strong> Hospitals’<br />
programme at University College London and a heritage consultant<br />
specializ<strong>in</strong>g <strong>in</strong> visitor studies and audience development. Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude qualitative methodologies to capture health and wellbe<strong>in</strong>g<br />
outcomes <strong>in</strong> the museum sector.<br />
› Evaluat<strong>in</strong>g the therapeutic effects of museum object handl<strong>in</strong>g with hospital<br />
patients: A review and <strong>in</strong>itial trial of well-be<strong>in</strong>g measures, Journal of Applied<br />
<strong>Arts</strong> & Health, 2.1, 37-56.<br />
Peter Anders is an architect, educator, and <strong>in</strong>formation design theorist.<br />
He has published widely on the architecture of cyberspace and is the<br />
author of Envision<strong>in</strong>g Cyberspace (McGraw Hill, 1998) which presents<br />
design pr<strong>in</strong>ciples for onl<strong>in</strong>e spatial environments. Anders received his<br />
doctoral degree from the University of Plymouth Planetary Collegium<br />
(2004) and is currently the director of M<strong>in</strong>dSpace.net, an<br />
architectural/design practice specializ<strong>in</strong>g <strong>in</strong> media/<strong>in</strong>formation<br />
environments.<br />
› Cybrid pr<strong>in</strong>ciples: guidel<strong>in</strong>es for merg<strong>in</strong>g physical and cyberspaces,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 2.3, 133-146.<br />
› Design<strong>in</strong>g mixed reality: perception, projects and practice, Technoetic <strong>Arts</strong>:<br />
A Journal of Speculative Research, 6.1, 19-29.<br />
Åsa Andersson is an artist work<strong>in</strong>g predom<strong>in</strong>antly <strong>in</strong> the area of lensbased<br />
media. She works across image-mak<strong>in</strong>g, writ<strong>in</strong>g and art teach<strong>in</strong>g.<br />
She holds a Ph.D. <strong>in</strong> F<strong>in</strong>e Art and Philosophy (1999, Staffordshire<br />
University) and has an <strong>in</strong>terest <strong>in</strong> site-responsive art practices and<br />
multi-discipl<strong>in</strong>ary creative approaches <strong>in</strong> relation to text, photography,<br />
film and pr<strong>in</strong>t. She is based <strong>in</strong> Stockholm while an Associate Senior
Keywords photography, art object,<br />
visual experience, aesthetic,<br />
understand<strong>in</strong>g<br />
Jorella Andrews<br />
University of London, Goldsmiths,<br />
Department of Visual Cultures,<br />
Lewisham Way, London, SE146NW,<br />
United K<strong>in</strong>gdom<br />
Keywords contemporary art, ethical<br />
art, photography<br />
Peder Anker<br />
New York University, Gallat<strong>in</strong><br />
School of Individualized Study, 1<br />
Wash<strong>in</strong>gton Place, Room 425, New<br />
York, NY 10003, United States of<br />
America<br />
Keywords Simon Starl<strong>in</strong>g, eco-art,<br />
ecology, environmentalism<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Planetary Collegium, Center of<br />
Advanced Inquiry <strong>in</strong> the Interactive<br />
<strong>Arts</strong>, Department of Art,<br />
Skodsborgvej 324, st.th, 2850<br />
Nærum, 2850, Denmark<br />
Keywords Technoetic <strong>Arts</strong>,<br />
semiotics, consciousness,<br />
communication, evolution,<br />
subjectivity, cognition, sensation,<br />
mean<strong>in</strong>g mak<strong>in</strong>g, philosophy,<br />
Lecturer <strong>in</strong> the Leeds School of Contemporary Art & Graphic Design<br />
at Leeds Metropolitan University.<br />
› Echoes of evocations: sites <strong>in</strong> transformation, Journal of Visual Art Practice,<br />
4.2, 125-134.<br />
Jorella Andrews is head of the Visual Cultures department at<br />
Goldsmiths, University of London. She is also on the editorial board of<br />
Third Text, an academic journal that provides critical perspectives on<br />
contemporary art and culture. Her <strong>research</strong> has a particular emphasis on<br />
phenomenological explorations of art, visuality and the ethical. A<br />
forthcom<strong>in</strong>g book on this topic, Show<strong>in</strong>g Off: A Philosophy of Image,<br />
is forthcom<strong>in</strong>g from I. B. Tauris.<br />
› The photographic stare, Philosophy of Photography, 2.1, 41-56.<br />
Peder Anker is associate professor at the Gallat<strong>in</strong> School of<br />
Individualized Study and the Environmental Studies Program at New<br />
York University. His works <strong>in</strong>clude Imperial Ecology: Environmental<br />
Order <strong>in</strong> the British Empire, 1895-1945 (2001) and From Bauhaus to<br />
Eco-House: A History of Ecological Design, (2010).<br />
› See<strong>in</strong>g P<strong>in</strong>k: The Eco-Art of Simon Starl<strong>in</strong>g, Journal of Visual Art Practice,<br />
7.1, 3-9.<br />
Kathr<strong>in</strong>e Elizabeth Anker is a Cultural theorist, writer and <strong>research</strong>er<br />
based <strong>in</strong> Copenhagen. She is a Ph.D. candidate at the Planetary<br />
Collegium, Center of Advanced Inquiry <strong>in</strong>to the Interactive <strong>Arts</strong>,<br />
University of Plymouth. Her current project has the title: 'Subject and<br />
Aesthetic Interface - an <strong>in</strong>quiry <strong>in</strong>to transformed subjectivities'. It<br />
places a central emphasis on subjectivity studies, and draws upon the<br />
field of art, science and technology from a perspective of Philosophy of<br />
Science and a strong, transdiscipl<strong>in</strong>ary approach.<br />
› Explor<strong>in</strong>g the <strong>in</strong>telligent art <strong>in</strong>stallation as a space for expansion of the<br />
conscious m<strong>in</strong>d, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.3,
transdiscipl<strong>in</strong>arity<br />
Magouliotis Apostolos<br />
University of Thessaly, Early<br />
Childhood Education Department,<br />
Argonafton & Filell<strong>in</strong>on, 38221,<br />
Volos, Greece<br />
Keywords Greece, preschool<br />
children, secondary colours,<br />
educational <strong>in</strong>tervention<br />
S<strong>in</strong>em Arcak<br />
University of M<strong>in</strong>nesota<br />
Keywords<br />
Rachel Armstrong<br />
The Barlett School of Architecture,<br />
Room 129c Wates House, 22 Gordon<br />
Street, London, WC1H 0QB, United<br />
K<strong>in</strong>gdom<br />
Keywords susta<strong>in</strong>ability, complexity,<br />
material comput<strong>in</strong>g, synthetic<br />
biology, architecture<br />
251-258.<br />
› The sense of be<strong>in</strong>g moved, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.2, 167-172.<br />
Magouliotis Apostolos is a graduate of Athens School of F<strong>in</strong>e <strong>Arts</strong> and<br />
completed his Ph.D. thesis at the University of Athens, Greece. He has<br />
taught art <strong>in</strong> Greek primary and secondary schools and lectured <strong>in</strong> the<br />
Department of Preschool Education at the University of Ioann<strong>in</strong>a,<br />
Greece. For the last ten years he has been an assistant professor <strong>in</strong> the<br />
Department of Preschool Education at the University of Thessaly,<br />
where he teaches Artistic Applications. His <strong>research</strong> papers have been<br />
published <strong>in</strong> Greek and <strong>in</strong>ternational journals and conference<br />
proceed<strong>in</strong>gs. He is the author of seven art education books and an art<br />
textbook for Greek primary schools for Years 5-6.<br />
› Creat<strong>in</strong>g orange purple and green: an experiment with preschool children <strong>in</strong><br />
Greece, International Journal of Education through Art, 5.1, 37-49.<br />
S<strong>in</strong>em Arcak is a Ph.D. candidate at the University of M<strong>in</strong>nesota,<br />
complet<strong>in</strong>g a dissertation titled 'Gifts <strong>in</strong> Motion: Ottoman-Safavid<br />
Cultural Exchange, 1501-1639'.<br />
› CONFERENCE PRECIS, International Journal of Islamic Architecture, 1.1,<br />
179-189.<br />
Rachel is a medical doctor with qualifications <strong>in</strong> general practice, a<br />
multimedia producer, and a science-fiction author and arts collaborator<br />
<strong>who</strong>se current <strong>research</strong> explores the possibilities of architectural design<br />
to create positive practices and mythologies about new technology. She<br />
is a Teach<strong>in</strong>g Fellow at the Bartlett School of Architecture and a<br />
member of Professor Neil Spiller’s AVATAR Research Group. She<br />
recently received a Darw<strong>in</strong> Now Award from the British Council for<br />
collaborative field work on a green algae, called Bryopsis, with<br />
extraord<strong>in</strong>ary powers of regeneration, and was one of the organizers of<br />
the recent Architecture & Complexity: Systems Architecture Workshop<br />
held at the Bartlett <strong>in</strong> February 2009. She has published extensively on<br />
posthuman evolution and alien phenomena, work<strong>in</strong>g at the <strong>in</strong>tersection
Roy Ascott<br />
Planetary Collegium, 64 Upper<br />
Cheltenham Place, Montpelier,<br />
Bristol, BS6 5HR, United K<strong>in</strong>gdom<br />
Keywords moistmedia, syncretic<br />
reality, telematics, technoetics<br />
L<strong>in</strong>da Ashton<br />
Keywords postcolonialism,<br />
postmodernism, teacher education,<br />
reflective practice<br />
of art, science and technology. Her first science-fiction novel The<br />
Gray’s Anatomy was published <strong>in</strong> 2001 by Serpent’s Tail.<br />
› Liv<strong>in</strong>g build<strong>in</strong>gs: plectic systems architecture, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 7.2, 79-94.<br />
› The nautilus – evolv<strong>in</strong>g architecture and city landscapes for future<br />
susta<strong>in</strong>able development, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 7.2, 105-115.<br />
Roy Ascott is an artist and theorist <strong>who</strong>se <strong>research</strong> is <strong>in</strong>vested <strong>in</strong><br />
cybernetics, technoetics, telematics, and syncretism. He is found<strong>in</strong>g<br />
president of the Planetary Collegium, an <strong>in</strong>ternational <strong>research</strong><br />
platform for art, technology and consciousness <strong>research</strong>, based <strong>in</strong><br />
Plymouth University with nodes <strong>in</strong> Milan and Zurich. He has held<br />
senior academic positions <strong>in</strong> San Francisco, M<strong>in</strong>neapolis, Vienna and<br />
Toronto, and is an Honorary Professor of Aalborg University Denmark,<br />
and Thames Valley University London. His <strong>in</strong>ternational exhibitions<br />
<strong>in</strong>clude La Plissure du Texte , Paris 1983; Planetary Network, Venice<br />
Biennale, 1986; Aspects of Gaia, Ars Electronica 1989; Art-ID/Cyb-<br />
ID, Biennal do Mercosul, Brazil,1999; Moist Manifesto, gr2000az,<br />
Graz. 2000. His retrospective ‘The Syncretic Sense’ was exhibited at<br />
Plymouth Art Centre <strong>in</strong> 2009, and at the International Incheon Digital<br />
Art Festival <strong>in</strong> Korea, 2010, <strong>in</strong>clud<strong>in</strong>g a new production <strong>in</strong> Second Life<br />
of La Plissure du Texte. His theoretical work is widely published,<br />
translated<br />
› The syncretic imperative, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 4.2, 109-114.<br />
› Introduction: Liv<strong>in</strong>g Build<strong>in</strong>gs: Plectic Systems Architecture, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 7.2, 73-74.<br />
› Editorial, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.1, 3-4.<br />
› Editorial, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2, 137-137.<br />
› LPDT2, Metaverse Creativity, 1.1, 81-100.<br />
L<strong>in</strong>da Ashton graduated from Townsville Teachers’ College <strong>in</strong> 1972.<br />
The arts have been the ma<strong>in</strong> <strong>in</strong>tegrat<strong>in</strong>g device for her personal and<br />
professional development and teach<strong>in</strong>g across early childhood,<br />
primary, secondary and tertiary education contexts. She was a found<strong>in</strong>g<br />
member of The N.Q. Ballet Company (precursor to Dance North)<br />
which provided a unique blend of skills and knowledge <strong>in</strong> the<br />
perform<strong>in</strong>g arts, costume and music. Career emphases: teach<strong>in</strong>g <strong>in</strong>
Daniel Ashton<br />
Bath Spa University, Department of<br />
Film and Media Production, Newton<br />
Park Campus, Newton St Loe, Bath,<br />
BA2 9BN, United K<strong>in</strong>gdom<br />
Keywords media <strong>in</strong>dustries, creative<br />
labour, critical media practice<br />
Paul Atk<strong>in</strong>son<br />
School of Humanities,<br />
Communications & Social Sciences,<br />
Monash University, Gippsland<br />
Campus, Churchill, VIC 3842,<br />
Australia<br />
Keywords graphic novels,<br />
metafiction, Paul Auster, Paul<br />
Karasik, David Mazzucchelli,<br />
adaptation<br />
ECE, primary and education contexts, <strong>Arts</strong> curriculum development,<br />
<strong>in</strong>tegrated arts, professional development <strong>in</strong> the arts for school-based<br />
colleagues, <strong>research</strong><strong>in</strong>g draw<strong>in</strong>g, teacher education <strong>in</strong> undergraduate<br />
ECE, primary and secondary coursework and collaborative public art<br />
projects.<br />
› The Other side of the easel: question<strong>in</strong>g art education through a postcolonial<br />
frame, International Journal of Education through Art, 6.2, 243-259.<br />
Daniel Ashton is Senior Lecturer <strong>in</strong> Media Communications at Bath<br />
Spa University. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude media <strong>in</strong>dustries and<br />
work, critical media literacy, and higher education pedagogy. He<br />
completed his doctorate (Lancaster University) on the UK creative<br />
<strong>in</strong>dustries economic vision and the development of students as<br />
‘<strong>in</strong>dustry-ready talent’. He has recently published work on higher<br />
education and digital games <strong>in</strong>dustry <strong>in</strong>tersections <strong>in</strong> Journal of<br />
Education and Work and Art, Design and Communication <strong>in</strong> Higher<br />
Education, creative economy policy <strong>in</strong> Journal of Cultural Economy,<br />
and media work and user-generated content <strong>in</strong> Convergence and<br />
Information Technology & People.<br />
› Productive passions and everyday pedagogies: Explor<strong>in</strong>g the <strong>in</strong>dustry-ready<br />
agenda <strong>in</strong> higher education, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 9.1, 41-56.<br />
Paul Atk<strong>in</strong>son lectures for the Communications and Writ<strong>in</strong>g<br />
programme at Monash University. His <strong>research</strong> is broadly <strong>in</strong>formed by<br />
the work of the f<strong>in</strong>-de-siècle French philosopher Henri Bergson and his<br />
writ<strong>in</strong>gs on movement and time. Published articles explore a range of<br />
topics <strong>in</strong>clud<strong>in</strong>g Bergson’s vitalism, comic books after 9/11, movement<br />
and recognition, time <strong>in</strong> superhero comics, affect theory and temporal<br />
aesthetics. He is currently work<strong>in</strong>g on a series of articles that explore<br />
the relationship between processual theories of time, aesthetics and<br />
narrative.<br />
› The graphic novel as metafiction, Studies <strong>in</strong> Comics, 1.1, 107-125.
Fernando Leal Audirac<br />
Keywords future, orig<strong>in</strong>,<br />
transvergence, encaustic, boundary<br />
Noam Austerlitz<br />
Tel Aviv university, Architecture<br />
School, KKL street, Tivon, 36082,<br />
Israel<br />
Keywords emotions, ethnography,<br />
students' experience, design<br />
education, reflection, personal and<br />
professional development<br />
Fernando Leal Audirac is a ref<strong>in</strong>ed and skillful artist, <strong>who</strong> does not fear<br />
to measure himself with the most varied and ancient pa<strong>in</strong>terly<br />
techniques, <strong>in</strong> order to explore its secrets, revisited and upgraded<br />
with<strong>in</strong> a contemporary and very <strong>in</strong>timate code of communication.<br />
Pa<strong>in</strong>ter, designer, etcher, fresco-pa<strong>in</strong>ter, sculptor, Leal Audirac moves<br />
along on an extremely personal path, that renders him immune from<br />
easy label<strong>in</strong>g. Leal Audirac has participated twice <strong>in</strong> the Venice<br />
Biennale, the first one <strong>in</strong> the Centennial <strong>in</strong> 1995 and has shown his<br />
work <strong>in</strong> galleries and museums <strong>in</strong> the US, Germany, Italy, Spa<strong>in</strong>,<br />
France, Hungary, Rumania, Korea and South America. He has also<br />
participated as lecturer and academic tutor for several <strong>in</strong>stitutions <strong>in</strong> the<br />
Americas and <strong>in</strong> Europe. He has written numerous essays on art and<br />
literature and participated <strong>in</strong> several <strong>in</strong>ternational symposiums<br />
regard<strong>in</strong>g art, science and environment organized by the European<br />
Environmental Tribunal. www.leal-audirac.com<br />
› Orig<strong>in</strong>s of the Future: an artist's encaustic perspective, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 6.2, 199-206.<br />
Noam Austerlitz currently holds a teach<strong>in</strong>g position at the school of<br />
architecture, Tel-aviv University (Israel). He graduated from the<br />
Faculty of Architecture, Bezalel Academy of <strong>Arts</strong>, Jerusalem, <strong>in</strong> 1996<br />
and s<strong>in</strong>ce then he has served as a practic<strong>in</strong>g architect. He has been the<br />
owner of a small practice s<strong>in</strong>ce 1999, concentrat<strong>in</strong>g ma<strong>in</strong>ly on<br />
susta<strong>in</strong>able architecture and social aspects of design. S<strong>in</strong>ce 2005 he<br />
holds a Ph.D. degree granted by the Technion, I.I.T. In his academic<br />
<strong>research</strong> Noam is try<strong>in</strong>g to merge his <strong>in</strong>terests <strong>in</strong> education and<br />
architecture. He has been conduct<strong>in</strong>g <strong>research</strong> <strong>in</strong>to design education<br />
and the role of emotional and social <strong>in</strong>teractions <strong>in</strong> the design teach<strong>in</strong>g<br />
and learn<strong>in</strong>g. His pr<strong>in</strong>cipal areas of <strong>research</strong> <strong>in</strong>terest are: design theory,<br />
pedagogy and design education, creativity and <strong>in</strong>novative th<strong>in</strong>k<strong>in</strong>g,<br />
design psychology, emotion <strong>research</strong>, education philosophy and<br />
science philosophy. Noam is also a practic<strong>in</strong>g architect and owns an<br />
architecture firm which focuses on 'green' architecture and susta<strong>in</strong>able<br />
design.<br />
› The <strong>in</strong>ternal po<strong>in</strong>t of view: study<strong>in</strong>g design students' emotional experience <strong>in</strong><br />
the studio via phenomenography and ethnography, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 5.3, 165-178.<br />
› Editorial for ADCHE special issue, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 6.3, 139-144.<br />
› Reflections on emotional journeys: a new perspective for read<strong>in</strong>g fashion<br />
students' PPD statements, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 6.3, 209-219.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 6.3, 221-226.
Lucía Ayala<br />
Humboldt University of Berl<strong>in</strong>,<br />
Hermann von Helmholtz-Zentrum für<br />
Kulturtechnik, Unter den L<strong>in</strong>den 6,<br />
10117, Berl<strong>in</strong>, Germany<br />
Keywords ubiquity, code, history of<br />
science, expanded body, virtual<br />
reality<br />
Elif Ayiter<br />
Keywords groundcourse, virtual<br />
learn<strong>in</strong>g environment, virtual<br />
design/architecture, avatar, role play,<br />
Lucía Ayala, art historian, f<strong>in</strong>ished her b<strong>in</strong>ational Ph.D. at the<br />
Humboldt University <strong>in</strong> Berl<strong>in</strong> (Germany) and Granada University<br />
(Spa<strong>in</strong>) under the supervision of Prof. Dr. Horst Bredekamp and Prof.<br />
Dr. Ignacio Henares Cuéllar. From a methodological <strong>in</strong>tersection<br />
between science and art, she has focused her work on the visualization<br />
of the plurality of worlds from the seventeenth century on. She is an<br />
associate of the <strong>research</strong> group Das Technische Bild/The Technical<br />
Image <strong>in</strong> the Hermann von Helmholtz-Zentrum für Kulturtechnik at the<br />
Humboldt University of Berl<strong>in</strong>. Her <strong>in</strong>terests are concentrated on an art<br />
historical approach to science, astrophysics and contemporary (socalled)<br />
media art.<br />
› Surpass<strong>in</strong>g human nature: Re<strong>in</strong>ventions of and for the body as a consequence<br />
of astronomical experiments <strong>in</strong> the seventeenth and eighteenth centuries,<br />
Metaverse Creativity, 1.1, 101-113.<br />
Elif Ayiter, aka Alpha Auer, is a Designer and Researcher specializ<strong>in</strong>g<br />
<strong>in</strong> the development and implementation of hybrid educational<br />
methodologies <strong>in</strong> art and design and computer science, and teaches full<br />
time at Sabanci University, Istanbul, Turkey. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude data visualization and the development of<br />
k<strong>in</strong>esthetic/somatic/biological <strong>in</strong>terfaces for the metaverse, both <strong>in</strong><br />
collaboration with teams of computer scientists. She has presented<br />
creative as well as <strong>research</strong> output at conferences <strong>in</strong>clud<strong>in</strong>g Siggraph,<br />
Consciousness Reframed, Creativity and Cognition, ISEA<br />
(International Symposium of Electronic Art), ICALT (IEEE<br />
International Conference on Advanced Learn<strong>in</strong>g Technologies),<br />
ComputationalAesthetics (Eurographics) and Cyberworlds. Ayiter is<br />
also the chief editor of the journal Metaverse Creativity with <strong>Intellect</strong><br />
and is currently study<strong>in</strong>g for a doctoral degree at the Planetary<br />
Collegium, CAiiA hub (Centre for Advanced Inquiry <strong>in</strong> the Interactive<br />
<strong>Arts</strong>), at the University of Plymouth with Roy Ascott.<br />
› Integrative art education <strong>in</strong> a metaverse: ground, Technoetic <strong>Arts</strong>: A Journal<br />
of Speculative Research, 6.1, 41-53.<br />
› Embodied <strong>in</strong> a metaverse: Anatomia and body parts, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 8.2, 181-188.<br />
› LPDT2, Metaverse Creativity, 1.1, 81-100.<br />
› Editorial, Metaverse Creativity, 1.1, 3-5.<br />
› Editorial, Metaverse Creativity, 1.2, 133-134.
Susan Bagwell<br />
London Metropolitan University,<br />
Cities Institute, Ladbrooke House, 62-<br />
66 Highbury Grove, London, N5<br />
2AD, United K<strong>in</strong>gdom<br />
Keywords city growth, clusters,<br />
creative <strong>in</strong>dustries, regeneration,<br />
ethnic m<strong>in</strong>ority enterprise, small<br />
bus<strong>in</strong>ess policy<br />
Sue Bailey<br />
United K<strong>in</strong>gdom<br />
Keywords qualitative variation,<br />
<strong>research</strong>, design projects, visual<br />
reproduc<strong>in</strong>g, conceptual responses<br />
Dallas J. Baker<br />
Griffith University and Southern<br />
Cross University, 13 Sky Place,<br />
Bell<strong>in</strong>gen, New South Wales, 2454,<br />
Australia<br />
Keywords<br />
Susan Bagwell is Research Development Manager at London<br />
Metropolitan University. She has a background <strong>in</strong> community and<br />
economic development, project management, and <strong>research</strong>, and has<br />
experience of work<strong>in</strong>g <strong>in</strong> the voluntary sector, local government and as<br />
a freelance consultant as well as higher education. She has an MSc <strong>in</strong><br />
Entrepreneurial Studies and a Diploma <strong>in</strong> Social Research and<br />
Evaluation. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Black and Ethnic M<strong>in</strong>ority<br />
SMEs, SMEs and regeneration, local economic development<br />
<strong>in</strong>itiatives, urban policy and regeneration, project management and<br />
fund<strong>in</strong>g strategies, evaluation practice and policy.<br />
› Creative clusters and city growth, Creative Industries Journal, 1.1, 31-46.<br />
Sue Bailey is a Senior Learn<strong>in</strong>g and Teach<strong>in</strong>g Fellow <strong>in</strong> the Faculty of<br />
Art and Design at Manchester Metropolitan University. She was<br />
previously Fashion Subject Area Leader and has extensive experience<br />
<strong>in</strong> design teach<strong>in</strong>g and curriculum development at undergraduate level.<br />
› Student Approaches to Learn<strong>in</strong>g <strong>in</strong> Fashion Design: a phenomenographic<br />
study, Art, Design & Communication <strong>in</strong> Higher Education, 1.2, 81-95.<br />
› Students’ approaches to the ‘<strong>research</strong>’ component <strong>in</strong> the fashion design<br />
project: Variation <strong>in</strong> students’ experience of the <strong>research</strong> process, Art, Design<br />
& Communication <strong>in</strong> Higher Education, 2.3, 113-130.<br />
Dallas J. Baker is <strong>in</strong> the f<strong>in</strong>al year of a doctoral candidature at Griffith<br />
University and an Associate Lecturer <strong>in</strong> the School of <strong>Arts</strong> and Social<br />
Sciences at Southern Cross University. He has an Honours degree <strong>in</strong><br />
Media Studies and a Masters <strong>in</strong> Writ<strong>in</strong>g. Under the nom de plume<br />
Dallas Angguish, he is a writer of poetry and short fiction with work<br />
published <strong>in</strong> the journals TEXT, Lodestar Quarterly, Retort Magaz<strong>in</strong>e,<br />
Polari Journal and <strong>in</strong> the anthologies When You're A Boy (2011),<br />
America Div<strong>in</strong>e (2011), Anywhere But Here (2006), Bend, Don't<br />
Shatter (2004) and Dumped (2000 and US edition 2002). His <strong>research</strong><br />
<strong>in</strong>terests are Queer Theory and its application to subjectivity <strong>in</strong> the<br />
contexts of creative practice, Practice-Led Research and Creative<br />
Writ<strong>in</strong>g pedagogy.<br />
› Queer<strong>in</strong>g Practice-Led Research: Subjectivity, performative <strong>research</strong> and the<br />
creative arts, Creative Industries Journal, 4.1, 33-51.
Erika Balsom<br />
Carleton University, Department of<br />
Modern Culture and Media at Brown<br />
University, Carleton University, 405<br />
St. Patrick’s Bldg, 1125 Colonel By<br />
Drive, Ottawa, ON K1S 5B6, Canada<br />
Keywords<br />
Anne Bamford<br />
Wimbledon College of Art -<br />
University of the <strong>Arts</strong> London,<br />
Merton Hall Road, London, SW19<br />
3QA, United K<strong>in</strong>gdom<br />
Keywords virtual world, constructed<br />
and manipulated imagery, simulation,<br />
technologies, art education<br />
Antonia Bardis<br />
Technological Education Institute of<br />
Athens, Department of Photography,<br />
Ag. Spyridonos Str, Egaleo, Athens,<br />
12210, Greece<br />
Keywords digital photography,<br />
realism, traditional photograph,<br />
snapshot, simulation<br />
Erika Balsom is Assistant Professor of Film Studies at Carleton<br />
University, Ottawa, Canada. She recently completed a dissertation<br />
entitled 'Exhibit<strong>in</strong>g C<strong>in</strong>ema: The Mov<strong>in</strong>g Image <strong>in</strong> Art After 1990' <strong>in</strong><br />
the Department of Modern Culture and Media at Brown University.<br />
Her writ<strong>in</strong>g has appeared <strong>in</strong> journals such as Screen, Public:<br />
Art/Culture/Ideas and the Canadian Journal of Film Studies, as well as<br />
<strong>in</strong> the catalogue for the recent Deutsche Guggenheim exhibition, Be<strong>in</strong>g<br />
S<strong>in</strong>gular Plural: Mov<strong>in</strong>g Images from India.<br />
› Brakhage's sour grapes, or notes on experimental c<strong>in</strong>ema <strong>in</strong> the art world,<br />
Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 13-25.<br />
Professor Anne Bamford is Director of the Eng<strong>in</strong>e Room at the<br />
University of the <strong>Arts</strong> London. Anne has been recognized nationally<br />
and <strong>in</strong>ternationally for her <strong>research</strong> <strong>in</strong> arts education, emerg<strong>in</strong>g<br />
literacies and visual communication. She is an expert <strong>in</strong> the<br />
<strong>in</strong>ternational dimension of arts and cultural education, and through her<br />
<strong>research</strong>, she has pursued issues of <strong>in</strong>novation, social impact and equity<br />
and diversity. A World Scholar for UNESCO, Anne has conducted<br />
major national impact and evaluation studies for the governments of<br />
Denmark, the Netherlands, Belgium, Iceland, Hong Kong, and is<br />
currently undertak<strong>in</strong>g a study <strong>in</strong> Norway. Amongst her numerous<br />
articles and book chapters, Anne is author of The Wow Factor: Global<br />
Research Compendium on the Impact of the <strong>Arts</strong> <strong>in</strong> Education which<br />
has been published <strong>in</strong> five languages and distributed <strong>in</strong> more than 40<br />
countries.<br />
› Manipulation, simulation, stimulation: the role of art education <strong>in</strong> the digital<br />
age, International Journal of Education through Art, 3.2, 91-102.<br />
› Reviews, International Journal of Education through Art, 3.1, 77-.<br />
Antonia Bardis is a photographer and educator resid<strong>in</strong>g <strong>in</strong> Athens,<br />
Greece. She holds a BFA from the University of Ill<strong>in</strong>ois and a MA<br />
from Goldsmiths College, University of London. She is currently<br />
work<strong>in</strong>g on a Ph.D. <strong>in</strong> Photography from the University of Derby.<br />
› Digital photography and the question of realism, Journal of Visual Art<br />
Practice, 3.3, 209-.
Naren Barfield<br />
Glasgow School of Art, 167 Renfrew<br />
Street, Glasgow, G3 6RQ, United<br />
K<strong>in</strong>gdom<br />
Keywords art, digital art, pedagogy,<br />
spatial ontology<br />
Mart<strong>in</strong> Barker<br />
University of Aberystwyth,<br />
Department of Theatre, Film and TV,<br />
Penglais Campus, Aberystwyth,<br />
Ceredigion, SY23 3AJ, United<br />
K<strong>in</strong>gdom<br />
Keywords teach<strong>in</strong>g film, media<br />
literacy, vernacular concepts, moral<br />
controversies<br />
Nick Barnes<br />
Keywords participatory <strong>research</strong>,<br />
design, risk, new product<br />
development, creative companies<br />
Naren Barfield is an artist, and has held senior academic positions for<br />
several years <strong>in</strong>clud<strong>in</strong>g lead<strong>in</strong>g <strong>research</strong> <strong>in</strong> two specialist art and design<br />
<strong>in</strong>stitutions, currently as Head of Research and Postgraduate Studies,<br />
and Professor of Visual <strong>Arts</strong> at the Glasgow School of Art. He has<br />
ma<strong>in</strong>ta<strong>in</strong>ed an active profile over many years pr<strong>in</strong>cipally <strong>in</strong> the areas of<br />
f<strong>in</strong>e art and creative pedagogy. His <strong>research</strong> and professional practice<br />
ranges across art practice, theory, materials and curatorship, and<br />
<strong>in</strong>cludes publication of books, chapters and papers <strong>in</strong> refereed journals<br />
and exhibition catalogues; curatorship at venues <strong>in</strong>clud<strong>in</strong>g the Victoria<br />
and Albert Museum <strong>in</strong> London; more than 60 conference and public<br />
presentations worldwide s<strong>in</strong>ce 1991, and more than 80 <strong>in</strong>dividual and<br />
collaborative exhibitions s<strong>in</strong>ce 1987.<br />
› Spatial ontology and digital pr<strong>in</strong>t, Journal of Visual Art Practice, 2.1, 26-35.<br />
Mart<strong>in</strong> Barker is Professor of Film and Television Studies at the<br />
University of Wales, Aberystwyth. He is the author of a number of<br />
books, of which probably best-known is Ill Effects: the Media-Violence<br />
Debate (co-edited with Julian Petley). He was director of the major<br />
<strong>in</strong>ternational audience <strong>research</strong> project <strong>in</strong>to the reception of The Lord<br />
of the R<strong>in</strong>gs (2003-4) <strong>who</strong>se results were published (Watch<strong>in</strong>g The<br />
Lord of the R<strong>in</strong>gs) by Peter Lang <strong>in</strong> 2007. In 2007 he also directed a<br />
<strong>research</strong> project for the British Board of Film Classification <strong>in</strong>to<br />
audience responses to sexual violence on screen, <strong>who</strong>se outcomes can<br />
be found on their website.<br />
› Understand<strong>in</strong>g vernacular experiences of film <strong>in</strong> an academic environment,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 4.1, 49-.<br />
Dr. Nick Barnes was Post-Doctoral Researcher at the Research Centre<br />
for Design and the Creative Industries at Birm<strong>in</strong>gham City University,<br />
Institute of Art and Design, where he worked primarily on the major<br />
AHRC <strong>research</strong> project concern<strong>in</strong>g Risk, Risk Perception and Design.<br />
Nick’s doctorate was <strong>in</strong> environmental management and he has worked<br />
on several post-doctoral <strong>research</strong> projects, <strong>in</strong>clud<strong>in</strong>g a large EU-funded<br />
project exam<strong>in</strong><strong>in</strong>g risk and <strong>in</strong>novation <strong>in</strong> the development of new<br />
products and technologies <strong>in</strong> the biotechnology sector. Nick has<br />
academic work published <strong>in</strong> the fields of design management and<br />
<strong>in</strong>novation policy; he currently operates his own <strong>research</strong> and<br />
development practice undertak<strong>in</strong>g projects on behalf of a variety of<br />
private, public and third sector organizations.
Suzanne Barnes<br />
Massachusetts College of Art and<br />
Design, 621 Hunt<strong>in</strong>gton Ave., Boston,<br />
MA 02115, United States of America<br />
Keywords illustration, advertis<strong>in</strong>g,<br />
design<br />
Carol<strong>in</strong>a Marielli Barreto<br />
Keywords art, gender, professional<br />
tra<strong>in</strong><strong>in</strong>g, history, applied arts<br />
Estelle Barrett<br />
Deak<strong>in</strong> University, School of<br />
Communication and Creative <strong>Arts</strong>,<br />
Burwood Highway, Victoria, 3125,<br />
Australia<br />
Keywords tacit knowledge, personal<br />
knowledge, creative arts <strong>research</strong>,<br />
› Research<strong>in</strong>g creative companies: lessons learned from a risk <strong>in</strong> design<br />
project, Creative Industries Journal, 2.2, 161-178.<br />
Around the age of four, Suzanne Barnes began to make pictures of<br />
birds, animals, twigs and rocks, a practice she cont<strong>in</strong>ues to the present<br />
day, only on better paper. Her clients have <strong>in</strong>cluded Martha Stewart,<br />
Reebok, Snapple, Ocean Spray, McDonald’s, Boston Globe, Audubon<br />
and Scientific American magaz<strong>in</strong>es, and many more <strong>in</strong> advertis<strong>in</strong>g,<br />
design and publish<strong>in</strong>g. She teaches other people to make pictures at<br />
Massachusetts College of Art and Design, where she is Professor of<br />
Illustration. When she’s not mak<strong>in</strong>g a student sharpen their pencil and<br />
get rid of their eraser, she works <strong>in</strong> her studio and, sometimes, she<br />
writes.<br />
› Try hold<strong>in</strong>g your pencil like this, Visual Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art,<br />
1.1, 59-62.<br />
Carol<strong>in</strong>a Marielli Barreto has a Masters degree <strong>in</strong> <strong>Arts</strong> from the <strong>Arts</strong><br />
Institute at the São Paulo State University – UNESP and graduated <strong>in</strong><br />
Art Education, with a specialization <strong>in</strong> Visual <strong>Arts</strong>. She is currently<br />
work<strong>in</strong>g as an art educator <strong>in</strong> the Cultural Centre of the Bank of Brazil<br />
and as a collaborator on the Projeto Memória at the Carlos de Campos<br />
State Technical School, the old Escola Profissional Fem<strong>in</strong><strong>in</strong>a de São<br />
Paulo (The São Paulo Professional School for Women).<br />
› Art education and professional tra<strong>in</strong><strong>in</strong>g: The São Paulo Professional School<br />
for Women, International Journal of Education through Art, 3.1, 69-76.<br />
Estelle Barrett is Senior Lecturer <strong>in</strong> the School of Communication and<br />
Creative <strong>Arts</strong> at Deak<strong>in</strong> University. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude,<br />
body/m<strong>in</strong>d relations, tacit knowledge, affect and embodiment <strong>in</strong><br />
aesthetic experience and creative practice as <strong>research</strong>. Her co-edited<br />
book with Barbara Bolt, Practice as Research: Approaches to Creative<br />
<strong>Arts</strong> Enquiry, published by IB Tauris London <strong>in</strong> 2007, comb<strong>in</strong>es these<br />
<strong>in</strong>terests and her experience <strong>in</strong> <strong>research</strong> pedagogy and supervision.
practice, sense activity<br />
Jiří Barta<br />
University of West Bohemia Pilsen,<br />
Institute of Art & Design (IAD),<br />
Czech Republic<br />
Keywords puppet animation, Czech<br />
animation, children, mixed media,<br />
political metaphor<br />
Christoph Bartneck<br />
University of Canterbury, HIT Lab<br />
NZ, University of Canterbury, Ilam,<br />
Christchurch, New Zealand<br />
Keywords Nobel Prize <strong>in</strong> Physics,<br />
<strong>in</strong>ventions, discoveries, global<br />
warm<strong>in</strong>g social application<br />
› Experiential learn<strong>in</strong>g <strong>in</strong> practice as <strong>research</strong>: context, method, knowledge,<br />
Journal of Visual Art Practice, 6.2, 115-124.<br />
Jiří Barta was born <strong>in</strong> Prague <strong>in</strong> 1948. He has been a successful puppet<br />
animation film-maker for over 40 years, <strong>in</strong>itially tra<strong>in</strong><strong>in</strong>g at the<br />
Department of Film and TV Graphics at the Academy of Art and<br />
Design <strong>in</strong> Prague, and work<strong>in</strong>g at the Jiří Trnka Studio as an artist,<br />
director and screenwriter s<strong>in</strong>ce 1978. His first film was Riddles for a<br />
Candy (1978), but his breakthrough film was the multi award-w<strong>in</strong>n<strong>in</strong>g<br />
The Ext<strong>in</strong>ct World of Gloves (1982). In 1986, he made his first feature,<br />
Pied Piper, which advanced Czech puppet animation by its use of<br />
wooden figures with limited movement. In 1993, he made a pilot for a<br />
long cherished project, The Golem, and completed a range of<br />
commercial projects before embark<strong>in</strong>g on the current feature, In the<br />
Attic: Who (2009).<br />
› Search<strong>in</strong>g ‘In the Attic’: a visual production diary, Animation Practice,<br />
Process & Production, 1.1, 131-153.<br />
Christoph Bartneck is Senior Lecturer and Director of Postgraduate<br />
Studies at Canterbury University's HIT Lab NZ. His background is <strong>in</strong><br />
Industrial Design and Human-Computer Interaction. He has published<br />
and presented projects and studies <strong>in</strong> various journals and conferences,<br />
as well as served as Assistant Professor <strong>in</strong> the Department of Industrial<br />
Design at the E<strong>in</strong>dhoven University of Technology. His <strong>in</strong>terests lie <strong>in</strong><br />
the area of Social Robotics, Design Science and Multimedia<br />
Applications. He has worked for several companies <strong>in</strong>clud<strong>in</strong>g the<br />
Technology Center of Hanover <strong>in</strong> Germany, LEGO <strong>in</strong> Denmark, Eagle<br />
River Interactive <strong>in</strong> the USA, Phillips Research <strong>in</strong> the Netherlands and<br />
ATR <strong>in</strong> Japan.<br />
› The asymmetry between discoveries and <strong>in</strong>ventions <strong>in</strong> the Nobel Prize <strong>in</strong><br />
Physics, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.1, 73-77.<br />
Roberto Bartual Roberto Bartual was born <strong>in</strong> Madrid <strong>in</strong> 1976. He is a translator, writer<br />
and scholar and the author of numerous articles on popular literature<br />
published <strong>in</strong> Diario El Sur, República de las Letras and Despalabro,
Universidad Autónoma de Madrid,<br />
Theory of Literature, Comparative<br />
Literature, L<strong>in</strong>guistics and Modern<br />
Languages, c. V<strong>in</strong>ca, 4. 3ºA., Madrid,<br />
28029, Spa<strong>in</strong><br />
Keywords William Hogarth, A<br />
Harlot’s Progress, engrav<strong>in</strong>g,<br />
sequential art, broadsheet<br />
Keren Barzilay-Shechter<br />
Lesley University, 5 Phillips Place,<br />
Cambridge, Massachusetts, 2138,<br />
United States of America<br />
Keywords expressive arts, therapy,<br />
conflict resolution, psychodrama,<br />
therapeutic action, methodology,<br />
group psychotherapy, Israeli –<br />
Palest<strong>in</strong>ian youth<br />
Nurit Bat-Yaar<br />
Keywords<br />
deal<strong>in</strong>g with authors such as Alan Moore, Robert L. Stevenson, and<br />
Jim Thompson and the hard-boiled genre. He translated an edition of<br />
Emily Brontë’s Wuther<strong>in</strong>g Heights illustrated by Balthus (Artemisa,<br />
2007) and the Spanish version of Alan Moore and José Villarubia’s The<br />
Mirror of Love (Kraken, 2008). Also a fiction writer, his short stories<br />
can be found <strong>in</strong> diverse anthologies, <strong>in</strong>clud<strong>in</strong>g Ficciones (Edaf, 2005).<br />
He is the co-author of the postmodern revisit<strong>in</strong>g of Lorca’s classic La<br />
Casa de Bernarda Alba Zombi (Cátedra, 2009).<br />
› William Hogarth’s A Harlot’s Progress : the beg<strong>in</strong>n<strong>in</strong>gs of a purely<br />
pictographic sequential language, Studies <strong>in</strong> Comics, 1.1, 83-105.<br />
Keren Barzilay-Shechter, MA is an Israeli expressive therapist<br />
specializ<strong>in</strong>g <strong>in</strong> psychodrama. For more than fifteen years, she has<br />
worked with children, adolescents and adults <strong>in</strong> different sett<strong>in</strong>gs such<br />
as community cl<strong>in</strong>ics, schools and mental <strong>in</strong>stitutions. She is currently<br />
a doctoral candidate <strong>in</strong> expressive therapy where she is <strong>research</strong><strong>in</strong>g the<br />
role of the defense mechanisms <strong>in</strong> the Israeli psyche with<strong>in</strong> the context<br />
of the Israeli–Palest<strong>in</strong>ian conflict. She has special <strong>in</strong>terest <strong>in</strong> the<br />
possible contribution of expressive therapy <strong>in</strong> enhanc<strong>in</strong>g and<br />
process<strong>in</strong>g these defenses. Barzilay-Shechter is a faculty member at<br />
Lesley University.<br />
› The <strong>Arts</strong>bridge group, Journal of Applied <strong>Arts</strong> & Health, 1.3, 333-339.<br />
Nurit Bat-Yaar, author of Israel Fashion Art, is the former fashion<br />
editor of Israel's most widely circulated daily newspaper Yedioth<br />
Ahronoth. The author is a summa cum laude graduate of New Jersey's<br />
Upsala College where she studied art and was granted 'The Upsala<br />
Award'. She is also a graduate of Wash<strong>in</strong>gton, D.C.'s Ardis School of<br />
Design where she studied fashion-design. In 1999, she was the curator<br />
of the exhibition 'Glimpses of Glamour Fashion Photography <strong>in</strong> the<br />
Mirror of a Century' which opened the new millennium <strong>in</strong> the Israel<br />
Museum of Photography at Tel-Hai.<br />
› BOOK REPORTS, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 249-268.
Zygmunt Bauman<br />
University of Leeds, Emeritus<br />
Professor of Sociology, School of<br />
Sociology and Social Policy, Leeds,<br />
LS2 9JT, United K<strong>in</strong>gdom<br />
Keywords Simmel, progress,<br />
freedom, security, fashion<br />
Nancy Beardall<br />
Lesley University, 5 Phillips Place,<br />
Cambridge, MA 02138, United States<br />
of America<br />
Keywords relational development,<br />
dance therapy, movement therapist<br />
Myron M. Beasley<br />
Keywords<br />
Zygmunt Bauman is one of the most significant global social th<strong>in</strong>kers<br />
of our age. His work, spann<strong>in</strong>g nearly five decades, steadfastly refuses<br />
to be constra<strong>in</strong>ed by arbitrary discipl<strong>in</strong>ary boundaries with<strong>in</strong> the arts,<br />
humanities and social sciences. An extraord<strong>in</strong>arily productive scholar,<br />
his writ<strong>in</strong>gs cont<strong>in</strong>ue to be relevant to his host subject of sociology, but<br />
also to social and political theory, philosophy, ethics, art theory,<br />
media/communications studies, cultural studies, and theology. His<br />
unique contribution – the conceptual framework ‘liquid modernity’ –<br />
has <strong>in</strong>fluenced <strong>in</strong>ternational <strong>research</strong> with<strong>in</strong> all of these discipl<strong>in</strong>es. By<br />
employ<strong>in</strong>g the metaphor of ‘liquidity’, Bauman’s later work has<br />
captured the fluid and constantly shift<strong>in</strong>g character of our equally<br />
<strong>in</strong>dividualized and globalized lives and, over the course of a series of<br />
related books and articles, has offered one of the most significant<br />
<strong>in</strong>terpretations of human societies <strong>in</strong> the twenty-first century.<br />
› Perpetuum mobile, Critical Studies <strong>in</strong> Fashion & Beauty, 1.1, 55-63.<br />
Nancy Beardall, Ph.D., B.C.-D.M.T., C.M.A., L.M.H.C., is the<br />
Dance/Movement Therapy Coord<strong>in</strong>ator at Lesley University,<br />
Cambridge, MA. As a dance/movement therapist, Certified Movement<br />
Analyst and educator, Nancy’s work has focused on dance, dance<br />
therapy and social/emotional and relational development us<strong>in</strong>g the<br />
expressive arts <strong>in</strong> the public schools. She has developed numerous<br />
curricula and co-authored Mak<strong>in</strong>g Connections: Build<strong>in</strong>g Community<br />
and Gender Dialogue <strong>in</strong> Secondary Schools with Janet Surrey and<br />
Stephen Bergman.<br />
› Spirals danc<strong>in</strong>g and the Spiral Integrated Learn<strong>in</strong>g Process: Promot<strong>in</strong>g an<br />
embodied know<strong>in</strong>g, Journal of Applied <strong>Arts</strong> & Health, 2.1, 7-23.<br />
Myron M. Beasley is Assistant Professor of African American Studies<br />
and American Cultural Studies at Bates College, Lewiston, Ma<strong>in</strong>e. He<br />
is a critical ethnographer, curator and performance artist. He is the<br />
2010/11 recipient of an Andy Warhol <strong>Arts</strong> Writers Grant and a Whit<strong>in</strong>g<br />
Foundation Fellowship for his work explor<strong>in</strong>g gender performance<br />
among street food vendors of Jacmel and contemporary Haitian artists.<br />
Beasley is currently work<strong>in</strong>g on a book project on the topic of death<br />
and performance art <strong>in</strong> the African diaspora. He has curated projects <strong>in</strong><br />
Haiti, Brazil and Morocco, and his writ<strong>in</strong>g appears <strong>in</strong> journals such as<br />
Text and Performance Quarterly and Performance Research.
Mark A. Bedau<br />
Reed College, 3203 SE Woodstock<br />
Blvd., Portland, OR, 97202-8199,<br />
United States of America<br />
Keywords protocell, synthetic<br />
biology, World Wide Web,<br />
autonomous agent, robot<br />
Honor Beddard<br />
Raven Row, London<br />
Keywords<br />
Amanda Beech<br />
University of Kent, F<strong>in</strong>e Art, Jarman<br />
Build<strong>in</strong>g, Canterbury, Kent, CT2<br />
7UG, United K<strong>in</strong>gdom<br />
Keywords knowledge, law,<br />
recognition, subject, tragic<br />
› Curatorial Studies on the Edge: The Ghetto Biennale, a Junkyard, and the<br />
Performance of Possibility, Journal of Curatorial Studies, 1.1, 65-81.<br />
Mark Bedau is Professor of Philosophy and Humanities at Reed<br />
College, Adjunct Professor of Systems Science at Portland State<br />
University, Editor-<strong>in</strong>-Chief of the journal Artificial Life, co-founder of<br />
the European Centre for Liv<strong>in</strong>g Technology, co-organizer of the Tenth<br />
International Conference on the Simulation and Synthesis of Liv<strong>in</strong>g<br />
Systems, Head of the Initiative for Science, Society and Policy at the<br />
Southern University of Denmark and a PI <strong>in</strong> the EU FP6 project<br />
Programmable Artificial Cell Evolution (PACE).<br />
› Liv<strong>in</strong>g technology today and tomorrow, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 7.2, 199-206.<br />
Honor Beddard is a curator. She lives and works <strong>in</strong> London.<br />
› Hilary Lloyd, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 115-119.<br />
Dr Amanda Beech is an artist and writer. Recent exhibitions <strong>in</strong>clude<br />
'The Real Th<strong>in</strong>g', Tate Brita<strong>in</strong>, London, 'Sanity Assass<strong>in</strong>', Spike Island,<br />
Bristol and 'Greet<strong>in</strong>gs Comrades, the Image Has Now Changed its<br />
Status', Occular Lab, Melbourne. She is Contribut<strong>in</strong>g Editor of 'Sanity<br />
Assass<strong>in</strong>' (2010) and 'Episode: Pleasure and Persuasion <strong>in</strong> Lens-based<br />
Media' (2008). She is Co-director of the <strong>research</strong> group Curat<strong>in</strong>g Video<br />
and a steer<strong>in</strong>g committee member of the <strong>research</strong> group The Political<br />
Currency of Art (PoCA). She is Professor <strong>in</strong> F<strong>in</strong>e Art at the University<br />
of Kent.<br />
› Don't fight it: the embodiment of critique, Journal of Visual Art Practice,<br />
6.1, 61-72.<br />
› Curatorial futures with the image: Overcom<strong>in</strong>g scepticism and unb<strong>in</strong>d<strong>in</strong>g the<br />
relational, Journal of Visual Art Practice, 9.2, 139-151.
Ruth Beer<br />
Emily Carr University of Art and<br />
Design, 1399 Johnston Street,<br />
Vancouver, British Columbia, V6R<br />
1E7, Canada<br />
Keywords arts-based <strong>research</strong>,<br />
geographic and cultural transitions,<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary art, new media, art<br />
education, science and art<br />
Pryle Behrman<br />
WIELS, Brussels<br />
Keywords<br />
David Bell<br />
University of Leeds, School of<br />
Geography, University of Leeds,<br />
Leeds LS2 9JT, Duned<strong>in</strong>, UK<br />
Keywords art, education, art history,<br />
Japan<br />
Laura Beloff<br />
Aalto University School of Art and<br />
Design, P.O. Box 31000, FI-00076,<br />
Hels<strong>in</strong>ki, F<strong>in</strong>land<br />
Ruth Beer is an Associate Professor of Visual Art and Assistant Dean<br />
at the Faculty of Visual Art and Material Practice at the Emily Carr<br />
University of Art and Design. Her extensive record of exhibitions<br />
<strong>in</strong>cludes museums and galleries <strong>in</strong> Canada, the United States, Japan,<br />
and Ch<strong>in</strong>a. She is a member of the Royal Canadian Academy of the<br />
<strong>Arts</strong> and is a recipient of numerous awards <strong>in</strong>clud<strong>in</strong>g a recent Canada<br />
SSHRC Research/Creation <strong>in</strong> the F<strong>in</strong>e <strong>Arts</strong> Grant. Her <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
art practice focuses on mapp<strong>in</strong>g stories of geographic and cultural<br />
transition.<br />
› Research and creation: Socially-engaged art <strong>in</strong> The City of Richgate Project,<br />
International Journal of Education through Art, 6.2, 213-227.<br />
› Render<strong>in</strong>g Embodied Heteroglossic Spaces, Journal of <strong>Arts</strong> & Communities,<br />
1.2, 129-146.<br />
Pryle Behrman is the reviews editor of MIRAJ.<br />
› David Claerbout: The Time that Rema<strong>in</strong>s, Mov<strong>in</strong>g Image Review & Art<br />
Journal MIRAJ, 1.1, 103-106.<br />
David Bell is a senior lecturer <strong>in</strong> critical human geography at the<br />
University of Leeds, UK. He has written on a range of topics, <strong>in</strong>clud<strong>in</strong>g<br />
urban and cultural geography and science and technology studies. He is<br />
currently co-<strong>in</strong>vestigator on an ESRC funded <strong>research</strong> project<br />
explor<strong>in</strong>g cosmetic surgery tourism, and is writ<strong>in</strong>g a book on cultural<br />
policy.<br />
› Seven ways to talk about art: One conversation and seven questions for<br />
talk<strong>in</strong>g about art <strong>in</strong> early childhood sett<strong>in</strong>gs, International Journal of<br />
Education through Art, 7.1, 41-54.<br />
Laura Beloff, <strong>research</strong>er, artist and lecturer. Beloff has exhibited<br />
widely <strong>in</strong> museums, galleries and media-art events <strong>in</strong> Europe and<br />
worldwide, e.g. <strong>in</strong> Vienna 2011, the Venice Biennale 2007 and <strong>in</strong><br />
Brazil 2008. She frequently lectures about her <strong>research</strong> and practice <strong>in</strong><br />
universities and various conferences. In 2002–2006, she was Professor<br />
for media arts at the Art Academy <strong>in</strong> Oslo, Norway. In 2007–2011, she
Keywords <strong>in</strong>terface, materiality,<br />
mobile art, wearables, wireless<br />
wearable technology<br />
René Berger<br />
Keywords frame, rheomorphism, real<br />
time, unmediated mediation, Web 2<br />
Kim Berman<br />
Keywords art, architecture, poverty<br />
was awarded a five-year grant by the F<strong>in</strong>nish state. In 2009–2010,<br />
2011, she has been Visit<strong>in</strong>g Professor at The University of Applied<br />
<strong>Arts</strong> <strong>in</strong> Vienna (AT). Currently, she is close to complet<strong>in</strong>g a Ph.D. at<br />
Planetary Collegium, University of Plymouth. More <strong>in</strong>formation on her<br />
artistic works and activities at http://www.realitydisfunction.org<br />
› When the cables leave, the <strong>in</strong>terfaces arrive: Immaterial networks and<br />
material <strong>in</strong>terfaces, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 4.3,<br />
211-220.<br />
› Wearable artefacts as <strong>research</strong> vehicles, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 8.1, 47-53.<br />
› Shared motifs: Body attachments <strong>in</strong> RL and SL, Metaverse Creativity, 1.2,<br />
135-146.<br />
René Berger served as Doctor of Letters at the Sorbonne, an honorary<br />
professor at the University of Lausanne and former Director of the<br />
Museum of F<strong>in</strong>e <strong>Arts</strong> <strong>in</strong> Lausanne. He founded Pour l’Art and the<br />
Salon <strong>in</strong>ternational de Galeries-Pilotes, as well as conven<strong>in</strong>g<br />
conferences of the ‘Locarno International Video Festival’. He is the<br />
Honorary President of the International Association of Art Critics and<br />
the International Association for Video <strong>in</strong> the <strong>Arts</strong> and Culture, and<br />
expert consultant for UNESCO. His publications, translated <strong>in</strong> many<br />
languages, <strong>in</strong>clude: Découverte de la Pe<strong>in</strong>ture, Connaissance de la<br />
Pe<strong>in</strong>ture, Art et Communication, La Mutation des Signes, La<br />
Téléfission, Alerte à la Télévision, L’effet des Changements<br />
Technologiques, Art et Technologie, Jusqu’où ira Votre Ord<strong>in</strong>ateur?,<br />
› Tours and detours of paradoxes, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 4.2, 71-74.<br />
Kim Berman, Associate Professor, Department of Visual <strong>Arts</strong>, Faculty<br />
of Art Design and Architecture, University of Johannesburg and<br />
Found<strong>in</strong>g Director of Phumani Paper.<br />
› Craft enterprise development: Surviv<strong>in</strong>g, respond<strong>in</strong>g to, and transform<strong>in</strong>g a<br />
South African government poverty alleviation programme, Journal of <strong>Arts</strong> &<br />
Communities, 1.3, 217-234.
Joana Duarte Bernardes<br />
Universidade de Coimbra, Faculdade<br />
de Letras da Universidade de<br />
Coimbra, Largo da Porta Ferrea,<br />
3004-530, Coimbra, Portugal<br />
Keywords beach, pa<strong>in</strong>t<strong>in</strong>g<br />
Susan Best<br />
University of New South Wales,<br />
Department of Art History and<br />
Theory, P.O. Box 259, Padd<strong>in</strong>gton,<br />
New South Wales, 2021, Australia<br />
Keywords affect studies, aesthetics,<br />
modern art, contemporary art<br />
Michael Betancourt<br />
Savannah College of Art & Design,<br />
Motion Media Design, Montgomery<br />
Hall, PO Box 3146, Savannah, GA,<br />
31402, United States of America<br />
Keywords new media art, conceptual<br />
art, process, computer-generated art,<br />
visual music, motion graphics,<br />
abstract film, video art<br />
Joana Duarte Bernardes has a degree <strong>in</strong> Literature and Modern<br />
Languages from the Universidade de Coimbra. Her areas of study<br />
<strong>in</strong>clude history, Portuguese studies, memory, and the poetics of limits.<br />
Published works <strong>in</strong>clude Eça de Queirós: Riso, Memória, Morte<br />
(Universidade de Coimbra) and Ma casa onde não se acorda: o<br />
cemitério romântico na ficção de Eça de Queirós (Universidade<br />
Federal da Uberlândia).<br />
› Limit and Utopia: Revisit<strong>in</strong>g the Beach as a Threshold, Journal of Visual Art<br />
Practice, 9.3, 219-230.<br />
Susan Best teaches <strong>in</strong> the Department of Art History and Theory,<br />
University of New South Wales. Her first book is published by I B<br />
Tauris; it is titled Visualiz<strong>in</strong>g Feel<strong>in</strong>g: Affect and the Fem<strong>in</strong><strong>in</strong>e Avantgarde<br />
This project is funded by an Australian Research Council<br />
grant. Dr. Best has expertise <strong>in</strong> modern and contemporary art, with a<br />
particular emphasis on conceptual art, women's art and Lat<strong>in</strong> American<br />
art. She teaches courses on abstraction, art and psychoanalysis, art,<br />
gender, sexuality and the body, and late modern sculpture.<br />
› M<strong>in</strong>imalism, subjectivity, and aesthetics: reth<strong>in</strong>k<strong>in</strong>g the anti-aesthetic<br />
tradition <strong>in</strong> late-modern art, Journal of Visual Art Practice, 5.3, 127-142.<br />
Michael Betancourt is an artist, media historian, critical theorist, and<br />
curator. His essays have been translated <strong>in</strong>to Ch<strong>in</strong>ese, Greek, Italian,<br />
Persian, Portuguese, and Spanish; journals such as Leonardo,<br />
Semiotica and CTheory have published his essays and he has edited<br />
five books on visual music technologies <strong>in</strong>vented by artists such as<br />
Thomas Wilfred, Mary Hallock-Greenewalt, and Oskar Fisch<strong>in</strong>ger. In<br />
the course of this <strong>research</strong>, he discovered the oldest surviv<strong>in</strong>g handpa<strong>in</strong>ted<br />
abstract films, done <strong>in</strong> 1916 by <strong>in</strong>ventor and artist Mary<br />
Hallock-Greenewalt. As an artist, he has exhibited his movies, sitespecific<br />
<strong>in</strong>stallations, and non-traditional art forms <strong>in</strong> unseen, unusual,<br />
or public spaces s<strong>in</strong>ce 1992. The second edition of his book,<br />
Structur<strong>in</strong>g Time, came out <strong>in</strong> 2009.<br />
› <strong>Intellect</strong>ual process, visceral result: human agency and the production of<br />
artworks via automated technology, Journal of Visual Art Practice, 7.1, 11-<br />
18.
Dipti Bhagat<br />
London Metropolitan University, 41<br />
Commercial Road, London, E1 1LA,<br />
United K<strong>in</strong>gdom<br />
Keywords academic writ<strong>in</strong>g, CETL,<br />
collaboration, design, design practice<br />
Amos Bianchi<br />
University of Plymouth, Planetary<br />
Collegium, Milan, Italy<br />
Keywords subjectivation, space,<br />
body, image, media<br />
Barbara Bickel<br />
Southern Illionois University<br />
Carbondael, School of Art and Design<br />
Keywords arts based <strong>research</strong>,<br />
fem<strong>in</strong>ism, performance ritual, visual<br />
art, collaboration<br />
Gerald<strong>in</strong>e Biddle-Perry<br />
London College of Fashion,<br />
University of the <strong>Arts</strong> London, Holly<br />
Cottage, Chapmans Lane, Orp<strong>in</strong>gton,<br />
Kent, BR5 3JA, United K<strong>in</strong>gdom<br />
Keywords oral history,<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary, critical th<strong>in</strong>k<strong>in</strong>g,<br />
Dipti Bhagat is a design historian work<strong>in</strong>g, <strong>in</strong> part, to devise <strong>in</strong>clusive<br />
pedagogies for the delivery of design history and theory for<br />
undergraduate practice-led design programmes at London Metropolitan<br />
University. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude twentieth-century cultural<br />
geographies of the material culture of Empire and African diaspora.<br />
› writ<strong>in</strong>g design: A collaboration between the Write Now CETL and The Sir<br />
John Cass Department of Art, Media and Design, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 8.2, 177-182.<br />
Amos Bianchi (1975) is coord<strong>in</strong>ator of postgraduate programmes at<br />
NABA (Nuova Accademia di Belle Arti Milano, www.naba.it). At the<br />
same <strong>in</strong>stitution, he has been Assistant Professor of Theory and<br />
Method of Mass Media, and he is currently Lecturer of Research<br />
Methods. He is a Ph.D. <strong>research</strong>er of the University of Plymouth,<br />
Planetary Collegium, at the M-Node, based <strong>in</strong> Milan.<br />
› Frames from the life and death of Jean Charles de Menezes, Technoetic <strong>Arts</strong>:<br />
A Journal of Speculative Research, 8.1, 5-9.<br />
Barbara Bickel is an artist, <strong>research</strong>er, educator and <strong>in</strong>dependent<br />
curator. An Assistant Professor <strong>in</strong> Art Education and Women Studies at<br />
Southern Ill<strong>in</strong>ois University Carbondale, she teaches courses <strong>in</strong> art<br />
education and studio art. To view her art portfolio and arts-based<br />
<strong>research</strong> onl<strong>in</strong>e visit http://www.barbara-bickel.com<br />
› Render<strong>in</strong>g Embodied Heteroglossic Spaces, Journal of <strong>Arts</strong> & Communities,<br />
1.2, 129-146.<br />
Gerald<strong>in</strong>e Biddle-Perry is an associate lecturer at London College of<br />
Fashion and Surrey Institute of Art and Design, teach<strong>in</strong>g across a range<br />
of subject areas. She is currently establish<strong>in</strong>g a small oral history<br />
archive at LCF of student <strong>in</strong>terviews. Her current <strong>research</strong> <strong>in</strong>terests are<br />
<strong>in</strong> fashion and dress as a narrative of self and identity particularly <strong>in</strong><br />
relation to class and leisure <strong>in</strong> Brita<strong>in</strong> <strong>in</strong> the 1950s.<br />
› Stimulat<strong>in</strong>g critical th<strong>in</strong>k<strong>in</strong>g <strong>in</strong> the theoretically timid: the role and value of
active learn<strong>in</strong>g<br />
Ia<strong>in</strong> Biggs<br />
University of the West of England,<br />
Faculty of Art, Media and Design,<br />
Bower Ashton Campus, Clanage<br />
Road, Bristol, BS3 2JT, United<br />
K<strong>in</strong>gdom<br />
Keywords landscape, memory,<br />
music, Puritanism, politics song<br />
Amanda Bill<br />
Massey University, Institute of<br />
Design for Industry and Environment,<br />
College of Creative <strong>Arts</strong>, P.O. Box<br />
756, Old Museum, Buckle Street,<br />
Well<strong>in</strong>gton, 6140, New Zealand<br />
Keywords art and design,<br />
governmentality, higher education,<br />
<strong>research</strong>, creativity<br />
oral history assignments with<strong>in</strong> an <strong>in</strong>terdiscipl<strong>in</strong>ary context, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 4.2, 85-100.<br />
Dr Ia<strong>in</strong> Biggs is Reader <strong>in</strong> Visual Art Practice at the Bristol School of<br />
Art, Media and Design, UWE, Bristol, where he is programme director<br />
for <strong>research</strong> degrees. His recent work <strong>in</strong>cludes the bookworks Between<br />
Carterhaugh and Tamsheil Rig: A Borderl<strong>in</strong>e Episode and Eight Lost<br />
Songs; the article ‘Towards a Polytheistic Relationship to Landscape:<br />
Issues for Contemporary Art’ <strong>in</strong> Landscape Research, 30: 1 (January<br />
2005), pp. 5-22; and the chapter ‘Hybrid Texts and Academic<br />
Authority: The Wager <strong>in</strong> Creative Practice Research’ <strong>in</strong> K. Macleod<br />
and L. Holdridge (eds), Th<strong>in</strong>k<strong>in</strong>g Through Art: Reflections on Art as<br />
Research (London and New York: Routledge, 2005). His current work<br />
<strong>in</strong>volves the relationship between image, music and text.<br />
› Educat<strong>in</strong>g 'Local Cosmopolitans': the case for a critical regionalism <strong>in</strong> art<br />
education?, Journal of Visual Art Practice, 1.1, 16-24.<br />
› Editorial, Journal of Visual Art Practice, 2.3, 116-118.<br />
› Editorial, Journal of Visual Art Practice, 5.1, 3-4.<br />
› Recover<strong>in</strong>g landscape: an art between see<strong>in</strong>g and hear<strong>in</strong>g, Journal of Visual<br />
Art Practice, 5.1, 29-38.<br />
› REVIEW, Journal of Visual Art Practice, 10.1, 103-105.<br />
› Song and the Presence of Absent Communities, Journal of <strong>Arts</strong> &<br />
Communities, 1.1, 7-23.<br />
› The spaces of ‘Deep Mapp<strong>in</strong>g’: A partial account, Journal of <strong>Arts</strong> &<br />
Communities, 2.1, 5-25.<br />
Dr Amanda Bill is a Senior Lecturer <strong>in</strong> fashion and textile design at<br />
Massey University, New Zealand. Her <strong>research</strong> focuses on creative<br />
subjectivity and the politics of work <strong>in</strong> the cultural economy. Prior to<br />
appo<strong>in</strong>tment at Massey University, Amanda operated her own<br />
successful textile design studio. She has lectured <strong>in</strong> design s<strong>in</strong>ce the<br />
<strong>in</strong>ception of design degrees <strong>in</strong> New Zealand <strong>in</strong> the early 1990s.<br />
Formerly programme leader for the Massey Bachelor of Design <strong>in</strong><br />
Textiles, she has also taught <strong>in</strong> visual communication, <strong>in</strong>dustrial, and<br />
fashion design programmes. Amanda’s Ph.D. is <strong>in</strong> Sociology and<br />
Women’s Studies. Her <strong>research</strong> has been presented at <strong>in</strong>ternational<br />
conferences on design, fashion and cultural policy. She was a member<br />
of the University of Auckland's multi-discipl<strong>in</strong>ary Fashion Project,<br />
which <strong>research</strong>ed the globalisation of the New Zealand designer
Johannes Birr<strong>in</strong>ger<br />
Brunel University, School of <strong>Arts</strong>,<br />
Uxbridge, Middlesex, UB8 3PH,<br />
United K<strong>in</strong>gdom<br />
Keywords collaboration, music,<br />
technology, multimedia, dance,<br />
theatre, video, performance, digital<br />
arts<br />
Clovis Blackwell<br />
Azusa Pacific University, 901 East<br />
Alosta Ave, Art Department, Azusa<br />
Pacific University, Azusa, CA 91702,<br />
United States of America<br />
Keywords Jeff Koons, irony, art<br />
appreciation, art student, s<strong>in</strong>cerity<br />
fashion <strong>in</strong>dustry and she has published <strong>research</strong> for Creative New<br />
Zealand about market<strong>in</strong>g the visual arts.<br />
› Just another piece of paper: creative <strong>research</strong> and writ<strong>in</strong>g, Journal of Writ<strong>in</strong>g<br />
<strong>in</strong> Creative Practice, 3.1, 5-15.<br />
Johannes Birr<strong>in</strong>ger is professor of Performance Technologies <strong>in</strong> the<br />
School of <strong>Arts</strong> at Brunel University (London) where he directs the<br />
DAP-Lab and the Centre for Contemporary and Digital Performance.<br />
He is a choreographer and artistic director of AlienNation Co., a<br />
multimedia ensemble based <strong>in</strong> Houston<br />
(www.aliennationcompany.com). He has created numerous dancetheatre<br />
works, video <strong>in</strong>stallations, <strong>in</strong>teractive works and site-specific<br />
performances <strong>in</strong> collaboration with artists <strong>in</strong> Europe, North America,<br />
Lat<strong>in</strong> America, Ch<strong>in</strong>a and Japan. Author of several books, <strong>in</strong>clud<strong>in</strong>g<br />
Media and Performance: Along the Border (1998), Performance on the<br />
Edge: Transformations of Culture (2000), Performance, Technology &<br />
Science (2008), and Dance and Cognition (coeditor, 2005). He founded<br />
Interaktionslabor Göttelborn <strong>in</strong> Germany, and directs media and<br />
performance workshops all over the world, <strong>in</strong> Belo Horizonte, Istanbul,<br />
Beij<strong>in</strong>g, Oslo, and at the EMPAC.<br />
› Interactive dance, the body and the Internet, Journal of Visual Art Practice,<br />
3.3, 165-178.<br />
Clovis Blackwell is a Los Angeles-based artist and adjunct professor at<br />
Azusa Pacific University. He received a BFA from San Francisco Art<br />
Institute and an MFA from Azusa Pacific University <strong>in</strong> 2009. He has<br />
shown across the United States, <strong>in</strong>clud<strong>in</strong>g the Kennedy Center <strong>in</strong><br />
Wash<strong>in</strong>gton DC, and the World F<strong>in</strong>ancial Center Gallery <strong>in</strong> New York<br />
City.<br />
› S<strong>in</strong>cerity and irony exam<strong>in</strong>ed through the work of Jeff Koons, Visual<br />
Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 63-68.<br />
Bernadette Blair Bernadette Blair is Director of Academic Development and Reader <strong>in</strong><br />
studio-based learn<strong>in</strong>g & teach<strong>in</strong>g <strong>in</strong> Faculty of Art, Design &
K<strong>in</strong>gston University, Faculty of Art,<br />
Design and Architecture, Knights<br />
Park, K<strong>in</strong>gston Upon Thames, Surrey,<br />
KT1 2QJ, United K<strong>in</strong>gdom<br />
Keywords formative assessment<br />
feedback, student experience,<br />
reflection, perception<br />
Charlie Blake<br />
Liverpool Hope University, Taggart<br />
Avenue, Liverpool, L16 9JD, United<br />
K<strong>in</strong>gdom<br />
Keywords graphic novels,<br />
humanities, <strong>in</strong>scription<br />
Martha Blassnigg<br />
University of Plymouth,<br />
Transtechnology Research, Drake<br />
Circus, Portland Square B323,<br />
Plymouth, Devon, PL4 8AA, United<br />
K<strong>in</strong>gdom<br />
Keywords cultural anthropology, film<br />
and c<strong>in</strong>ema studies, media philosophy<br />
Architecture, K<strong>in</strong>gston University. She studied Graphic Pr<strong>in</strong>tmak<strong>in</strong>g at<br />
the Regional College of Art Bradford followed by an MA <strong>in</strong><br />
Pr<strong>in</strong>tmak<strong>in</strong>g at Wimbledon School of Art. She then worked as a<br />
photographer and pr<strong>in</strong>tmaker exhibit<strong>in</strong>g both nationally and<br />
<strong>in</strong>ternationally. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude art and design pedagogy,<br />
student learn<strong>in</strong>g <strong>in</strong> the studio environment, feedback and assessment <strong>in</strong><br />
studio-based practice, the use of photography <strong>in</strong> pr<strong>in</strong>tmak<strong>in</strong>g and the<br />
application of draw<strong>in</strong>g by designers.<br />
› ‘At the end of a huge crit <strong>in</strong> the summer, it was “crap” – I'd worked really<br />
hard but all she said was “f<strong>in</strong>e” and I was gutted.’, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 5.2, 83-96.<br />
Charlie Blake is currently Senior Lecturer <strong>in</strong> Critical and Cultural<br />
Theory at Liverpool Hope University. He recently co-edited a twovolume<br />
study for the journal Angelaki entitled 'Shadows of Cruelty:<br />
Sadism, Masochism & the Philosophical Muse' with Frida Beckman of<br />
Uppsala University, Sweden, and is currently work<strong>in</strong>g on a collection,<br />
'Beyond Human: From Animality to Transhumanism', with Steven<br />
Shakespeare, Liverpool Hope University and Claire Molloy, University<br />
of Brighton, and a study of sex and the mov<strong>in</strong>g image, 'Sex<strong>in</strong>g the<br />
Event: Perform<strong>in</strong>g the Real <strong>in</strong> Post-Transgressive C<strong>in</strong>ema', with Beth<br />
Johnson, Keele University.<br />
› Pirate multiplicities: Aion, chronos and magical <strong>in</strong>scription <strong>in</strong> the graphic<br />
novels of Alan Moore, Studies <strong>in</strong> Comics, 2.1, 121-134.<br />
Martha Blassnigg is a Cultural Anthropologist and Film and Media<br />
Theorist with a background <strong>in</strong> documentary filmmak<strong>in</strong>g and film<br />
restoration. She is <strong>research</strong> fellow at Transtechnology Research at the<br />
University of Plymouth, and associate editor for Leonardo Reviews.<br />
She conducts qualitative <strong>research</strong> <strong>in</strong>to the perceptual, creative<br />
processes dur<strong>in</strong>g enhanced or amplified situations such as<br />
experiences of spiritual practices and cognition <strong>in</strong> audio-visual<br />
environments, explor<strong>in</strong>g the body-m<strong>in</strong>d correlation <strong>in</strong> relation to issues<br />
such as time, memory and consciousness.<br />
› Transformative Aspects of the Angelic Imag<strong>in</strong>ary, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 4.1, 15-26.
Margo Blythman<br />
London College of Communication -<br />
University of the <strong>Arts</strong> London<br />
Keywords non-verbal<br />
communication, written assessment,<br />
practice-based <strong>research</strong>, Writ<strong>in</strong>g<br />
PAD, dissertation, concept mapp<strong>in</strong>g<br />
Bryna Bobick<br />
University of Memphis<br />
Keywords<br />
Ingrid Böck<br />
TU Graz, Institut für<br />
Architekturtheorie, Kunst- und<br />
Kulturwissenschatfen,<br />
Technikerstraße 4/3, Graz, 8010,<br />
Austria<br />
Keywords genetic algorithms, design<br />
<strong>in</strong>telligence, selection, Le Corbusier,<br />
discourse<br />
Margo Blythman is Teach<strong>in</strong>g and Learn<strong>in</strong>g Coord<strong>in</strong>ator at the London<br />
College of Communication, University of the <strong>Arts</strong>, London, where she<br />
has responsibility for quality enhancement <strong>in</strong>itiatives <strong>in</strong>clud<strong>in</strong>g study<br />
support, tutorial and student retention. Her current <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude the micropolitics of organizations, lecturers’ conceptions of<br />
their work<strong>in</strong>g practices and students’ approaches to design and writ<strong>in</strong>g.<br />
› Textual and visual <strong>in</strong>terfaces <strong>in</strong> art and design education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 75-80.<br />
› Textual and visual <strong>in</strong>terfaces <strong>in</strong> art and design education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.3, 139-140.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 5.2, 153-.<br />
› 11th European League Institutes of the <strong>Arts</strong> Biennial Conference: HEARTH<br />
l'art au coeur du territoire<br />
› Nantes, France, 2730 October 2010, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
3.2, 181-184.<br />
› BOOK REVIEWS, International Journal of Education through Art, 8.1, 91-<br />
97.<br />
Ingrid Böck is a scientific assistant at the department of architecture<br />
theory, art history and cultural studies at the TU Graz and an<br />
architectural designer with Querkraft architects Vienna. She received<br />
her degree <strong>in</strong> architecture from the TU Vienna, where she also taught<br />
courses <strong>in</strong> architecture and design methods. Currently she is engaged <strong>in</strong><br />
her Ph.D. thesis on Rem Koolhaas/ OMA. She is on the editorial board<br />
for GAM (Graz Architecture Magaz<strong>in</strong>e)and author of essays on Le<br />
Corbusier’s urbanism, virtual versus analogous space, and the idea of<br />
the formless <strong>in</strong> architecture. Previous works <strong>in</strong>clude Erasure, Grid, and<br />
the City Beyond Plann<strong>in</strong>g (2009), Tools of the Virtual, Atmosphere and<br />
Bodily Presence (2009), Imag<strong>in</strong>ary and Spatial Immediacy (2008), and<br />
R&Sie read<strong>in</strong>g Bataille’s Formless (2007).<br />
› Evolutionary design and the economy of discourse, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 8.1, 67-76.
Erik Bohemia<br />
Northumbria University, School of<br />
Design, Newcastle upon Tyne, NE1<br />
8ST, United K<strong>in</strong>gdom<br />
Keywords assessment for learn<strong>in</strong>g,<br />
design pedagogy, Global Studio,<br />
educational discourses, collaborative<br />
learn<strong>in</strong>g<br />
Rose Bond<br />
Pacific Northwest College of Art,<br />
Portland, Oregon, United States of<br />
America<br />
Keywords animation, <strong>in</strong>stallation,<br />
poetics<br />
Erik Borg<br />
Coventry University, Centre for<br />
Academic Writ<strong>in</strong>g, Gosford Street,<br />
Coventry, West Midlands, CV1 5DD,<br />
United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>ternally persuasive<br />
writ<strong>in</strong>g, contextual studies, art<br />
education, design education<br />
Erik Bohemia is a Reader <strong>in</strong> Three Dimensional Design Studies at the<br />
School of Design, Northumbria University, United K<strong>in</strong>gdom. As a<br />
Researcher and an Educator <strong>in</strong> the field of design, he is <strong>in</strong>terested <strong>in</strong> the<br />
skills and competencies of designers and the match between these and<br />
<strong>in</strong>dustry requirements. The results from his <strong>research</strong> <strong>in</strong> this area have<br />
been used to guide the development of curriculum <strong>in</strong> design so that<br />
future graduates may more effectively fulfil <strong>in</strong>dustry requirements. Dr.<br />
Bohemia’s current <strong>research</strong> focus is on global product design<br />
development processes and its impact on the design profession. His<br />
<strong>research</strong> has been published <strong>in</strong> <strong>in</strong>ternational journals and conferences.<br />
› Intersections: The utility of an ‘Assessment for Learn<strong>in</strong>g’ discourse for<br />
Design educators, Art, Design & Communication <strong>in</strong> Higher Education, 8.2,<br />
123-134.<br />
Rose Bond lectures <strong>in</strong> Mov<strong>in</strong>g Image <strong>Arts</strong> at the Pacific Northwest<br />
College of Art <strong>in</strong> Portland, Oregon. She has shown films at the<br />
Sundance and New York International Film Festivals, and is a recipient<br />
of an AFI film grant. She produces films us<strong>in</strong>g a mix of digital and<br />
hand-drawn animation.<br />
› Poetics and public space: an <strong>in</strong>vestigation <strong>in</strong>to animated <strong>in</strong>stallation,<br />
Animation Practice, Process & Production, 1.1, 65-76.<br />
Erik works <strong>in</strong> the Centre for Academic Writ<strong>in</strong>g (CAW) at Coventry<br />
University <strong>in</strong> the United K<strong>in</strong>gdom. He works <strong>in</strong> a consultancy role with<br />
staff <strong>in</strong> the discipl<strong>in</strong>es to cascade strategies for teach<strong>in</strong>g Academic<br />
Writ<strong>in</strong>g, and he offers advice to colleagues on their own scholarly<br />
writ<strong>in</strong>g. He was formerly a Lecturer <strong>in</strong> Applied L<strong>in</strong>guistics at<br />
Northumbria University and has also taught at universities <strong>in</strong> Ch<strong>in</strong>a and<br />
Oman. He has Master’s degrees <strong>in</strong> English literature from the<br />
University of Chicago and <strong>in</strong> TESOL from the University of Leeds. His<br />
current Ph.D. <strong>research</strong> explores the role of writ<strong>in</strong>g <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> Practice<br />
and Design, and he is study<strong>in</strong>g the process of learn<strong>in</strong>g to write at Ph.D.<br />
level <strong>in</strong> these discipl<strong>in</strong>es. Erik has published articles <strong>in</strong> Art, Design and<br />
Communication <strong>in</strong> Higher Education, ELT Journal and the Journal of<br />
English for Academic Purposes<br />
› Internally persuasive writ<strong>in</strong>g <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> Practice, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.3, 193-.<br />
› Writ<strong>in</strong>g <strong>in</strong> f<strong>in</strong>e arts and design education <strong>in</strong> context, Journal of Writ<strong>in</strong>g <strong>in</strong>
Peter Bosma<br />
Netherlands University for<br />
Animation, Rotterdam, Netherlands<br />
Keywords animation, Netherlands,<br />
c<strong>in</strong>ema<br />
Serge Bouchardon<br />
University of Technology of<br />
Compiegne, rue du Dr Schweitzer,<br />
Compiègne, 60200, France<br />
Keywords digital creation, electronic<br />
literature, <strong>in</strong>teractivity<br />
Doug Boughton<br />
Northern Ill<strong>in</strong>ois University, School<br />
of Art, Jack Arends Build<strong>in</strong>g, De<br />
Kalb, IL, 60115 -2883, United States<br />
of America<br />
Keywords assessment, visual culture,<br />
portfolio, technology<br />
Creative Practice, 1.1, 85-102.<br />
Peter Bosma is a <strong>research</strong>er at the Netherlands University for<br />
Animation. He also works as a freelance writer and editor. Books he<br />
has edited <strong>in</strong>clude Filmkunde (Open Universitiete) and C<strong>in</strong>ematheek<br />
Bewaarboek (Theater Lantaren/Venster). He studied Dutch and Theatre<br />
at Utrecht University.<br />
› The Dutch Animation Collection: a work <strong>in</strong> progress, Animation Practice,<br />
Process & Production, 1.1, 169-190.<br />
Serge Bouchardon graduated <strong>in</strong> Literature from the Sorbonne<br />
University (France). After work<strong>in</strong>g as a project manager <strong>in</strong> the<br />
educational software <strong>in</strong>dustry for six years, he wrote his dissertation on<br />
<strong>in</strong>teractive literary narrative, and he is currently Associate Professor <strong>in</strong><br />
Communication Sciences at the University of Technology of<br />
Compiegne (France). His <strong>research</strong> focuses on digital creation, <strong>in</strong><br />
particular electronic literature. As an author, he is <strong>in</strong>terested <strong>in</strong> the<br />
unveil<strong>in</strong>g of <strong>in</strong>teractivity.<br />
› Digital literature and the Digital, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
4.1, 65-78.<br />
Dr. Boughton is Professor of Art and Education at Northern Ill<strong>in</strong>ois<br />
University. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude assessment of student<br />
learn<strong>in</strong>g <strong>in</strong> art, portfolio assessment, and art curriculum policy. He was<br />
World President of InSEA from 2003 to 2005, has served as Chief<br />
Exam<strong>in</strong>er Art/Design for the International Baccalaureate Organization,<br />
was Foundation Director of the National Art Education Research<br />
Council of the Australian Institute of Art Education, and Consult<strong>in</strong>g<br />
Professor <strong>in</strong> Art Education to the Institute of Education <strong>in</strong> Hong Kong.<br />
Dr Boughton has won numerous honours <strong>in</strong>clud<strong>in</strong>g the Ziegfeld Award<br />
for contribution to International Art Education <strong>in</strong> 2006. He is a<br />
Dist<strong>in</strong>guished Fellow of the National Art Education Association<br />
(NAEA), is a member of the Council for Policy Studies <strong>in</strong> Art<br />
Education (USA) and is an honorary life member of the Australian<br />
Institute of Art Education.
Roy Boyne<br />
Durham University, School of<br />
Applied Social Sciences, 32 Old<br />
Elvet, Durham, DH1 3HN, United<br />
K<strong>in</strong>gdom<br />
Keywords sociology, economic<br />
impact, film, public sculpture, aura,<br />
sublime, futurism, situationism,<br />
propaganda, social network<strong>in</strong>g,<br />
terrorism, spectacle<br />
Emily Brady<br />
University of Ed<strong>in</strong>burgh, Institute of<br />
Geography, School of GeoSciences,<br />
Drummond Street, Ed<strong>in</strong>burgh, EH8<br />
9XP, United K<strong>in</strong>gdom<br />
Keywords conservation, ethics,<br />
aesthetics, animals, ecological art<br />
Amanda M. C<br />
Brandellero<br />
› From f<strong>in</strong>e art to visual culture: assessment and the chang<strong>in</strong>g role of art<br />
education, International Journal of Education through Art, 1.3, 211-224.<br />
Roy Boyne has published books on French philosophy, the sociology<br />
of art and c<strong>in</strong>ema, and cultures of risk. He is a member of the executive<br />
editorial board of Theory, Culture and Society, and a board member of<br />
Creative Industries. He was guest-editor for the 2007 edition, devoted<br />
to c<strong>in</strong>ema, and of Symbolism: a Journal of Critical Aesthetics. He was<br />
Vice-Chair of the Board of Culture North East (until its demise <strong>in</strong> April<br />
2009). He is writ<strong>in</strong>g a book for Sage on regional and <strong>in</strong>ternational<br />
cultural strategy, based <strong>in</strong> part on <strong>research</strong> he did whilst he was visit<strong>in</strong>g<br />
professor at the University of Strasbourg <strong>in</strong> 2007.<br />
› Reviews, Creative Industries Journal, 2.1, 117-121.<br />
› Book Review, Creative Industries Journal, 3.1, 97-100.<br />
Emily Brady is a Reader at the Institute of Geography at the University<br />
of Ed<strong>in</strong>burgh. Her <strong>research</strong> <strong>in</strong>terests beg<strong>in</strong> <strong>in</strong> philosophical aesthetics<br />
and extend out to various areas, <strong>in</strong>clud<strong>in</strong>g environmental aesthetics<br />
(nature, environment, art, cultural landscapes), everyday aesthetics and<br />
Kant. Her work has been concerned with th<strong>in</strong>k<strong>in</strong>g through the nature of<br />
aesthetic experience, with particular attention to the role of imag<strong>in</strong>ation<br />
and emotion and the relationship between aesthetic value and moral<br />
value. Brady is the author of Aesthetics of the Natural Environment<br />
(2003); and co-editor of Humans <strong>in</strong> the Land: The Ethics and<br />
Aesthetics of the Cultural Landscape (2008) and Aesthetic Concepts:<br />
Essays After Sibley (2001). Her current <strong>research</strong> focuses on aesthetics<br />
of nature <strong>in</strong> the history of philosophy, with a book <strong>in</strong> progress on the<br />
sublime.<br />
› Animals <strong>in</strong> environmental art: relationship and aesthetic regard, Journal of<br />
Visual Art Practice, 9.1, 47-58.<br />
Amanda Brandellero is a Ph.D. Researcher at the University of<br />
Amsterdam. Her <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> the fields of the cultural<br />
<strong>in</strong>dustries, migrant cultural entrepreneurship and socio-economic and<br />
cultural transformations <strong>in</strong> metropolitan areas.
University of Amsterdam, Nieuwe<br />
Pr<strong>in</strong>sengracht 130, Amsterdam, 1018<br />
VZ, Netherlands<br />
Keywords markets, commodification,<br />
<strong>in</strong>novation, creativity, cultural<br />
<strong>in</strong>dustries<br />
Sue Breakell<br />
University of Brighton, Design<br />
Archives, Faculty of <strong>Arts</strong>, Grand<br />
Parade, Brighton, BN2 0JY, United<br />
K<strong>in</strong>gdom<br />
Keywords archives, documentation,<br />
modern art, creative process, design,<br />
memory<br />
Karol<strong>in</strong>a Breguła<br />
Keywords conceptual art, diversity,<br />
cultural tension, city<br />
Joseph E. Brenner<br />
Keywords Nicolescu, cyber space-<br />
› Keep<strong>in</strong>g the market at bay: explor<strong>in</strong>g the loci of <strong>in</strong>novation <strong>in</strong> the cultural<br />
<strong>in</strong>dustries, Creative Industries Journal, 3.1, 61-77.<br />
Sue Breakell is Archivist at the University of Brighton Design<br />
Archives and Research Fellow <strong>in</strong> the Faculty of <strong>Arts</strong>. Her <strong>research</strong><br />
engages with the nature, mean<strong>in</strong>g and practice of archives, as well as<br />
the history of twentieth century art and design. She is <strong>in</strong>terested <strong>in</strong> the<br />
approaches of multiple users (archivists, academics and artists among<br />
them) to the notional and physical archive.<br />
› Collect<strong>in</strong>g the traces: an archivist's perspective, Journal of Visual Art<br />
Practice, 6.3, 175-190.<br />
Karol<strong>in</strong>a Breguła was born <strong>in</strong> 1979 <strong>in</strong> Katowice, Poland and now lives<br />
and works <strong>in</strong> Warsaw. She graduated from the National Film,<br />
Television and Theatre School <strong>in</strong> Łódz, Poland, the European Academy<br />
of Photography <strong>in</strong> Warsaw and the GFU Photography School at<br />
Folkuniversitetet <strong>in</strong> Stockholm, Sweden. She is a visual and conceptual<br />
artist <strong>who</strong> creates photography, video <strong>in</strong>stallations and actions, and has<br />
shown work <strong>in</strong> solo and group shows <strong>in</strong> Poland, Lithuania, Germany<br />
and Sweden. She is particularly <strong>in</strong>terested <strong>in</strong> the subjects of diversity<br />
and tension that appear at the meet<strong>in</strong>g po<strong>in</strong>ts of different cultures. She<br />
is <strong>in</strong>terested <strong>in</strong> relations between people <strong>in</strong> large societies and relations<br />
between people and art. Her <strong>in</strong>spiration is the city. In her recent works<br />
she has been work<strong>in</strong>g on the subject of perception of modern art.<br />
› Let them see us, Journal of <strong>Arts</strong> & Communities, 2.2, 145-152.<br />
Joseph E. Brenner received a Ph.D. <strong>in</strong> Organic Chemistry from the<br />
University of Wiscons<strong>in</strong>. He worked <strong>in</strong> corporate development and<br />
technology transfer at the Du Pont Company International headquarters<br />
for Europe. S<strong>in</strong>ce 1998 he has collaborated with the International<br />
Center for Transdiscipl<strong>in</strong>ary Research, Paris.
time, b<strong>in</strong>ary logic, unity of<br />
knowledge, consciousness › Logic, art and transdiscipl<strong>in</strong>arity: A new logic for the new reality, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 1.3, 169-180.<br />
Madele<strong>in</strong>e Brens<br />
University of Cambridge, Faculty of<br />
Education, 184 Hills Rd., Cambridge,<br />
CB2 8PQ, United K<strong>in</strong>gdom<br />
Keywords young female offenders,<br />
adolescent women, art education<br />
Ron Broglio<br />
Arizona State University, PO Box<br />
870302, Tempe, AZ, 85287-0302,<br />
United States of America<br />
Keywords sk<strong>in</strong>, Snaebjornsdottir and<br />
Wilson, Coates, surface, Umwelt<br />
Alice Haylett Bryan<br />
K<strong>in</strong>g’s College London<br />
Madele<strong>in</strong>e Brens is a Ph.D. student at the University of Cambridge <strong>in</strong><br />
the Faculty of Education where she completed her M.Phil. <strong>in</strong> 2009<br />
(‘The <strong>Arts</strong> Award: Creat<strong>in</strong>g Artists and <strong>Arts</strong> Leaders’). Madele<strong>in</strong>e has<br />
recently presented her work (‘Female Young Offenders and the Impact<br />
of <strong>Arts</strong> Engagement’) at an <strong>in</strong>ternational conference (The Emergent<br />
Adult, 2010). She completed her teacher tra<strong>in</strong><strong>in</strong>g <strong>in</strong> Canada at Queen’s<br />
University (2005) and has taught visual art for several years at a<br />
secondary school <strong>in</strong> Toronto, Canada.<br />
› Engagement <strong>in</strong> the arts and self-efficacy of adolescent women, Visual<br />
Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 9-19.<br />
Ron Broglio is Assistant Professor of English at Arizona State<br />
University. His <strong>research</strong> focuses on how philosophy and aesthetics can<br />
help us reth<strong>in</strong>k the relationship between humans and the environment.<br />
His book Technologies of the Picturesque: British Art, Poetry, and<br />
Instruments 1750–1830 (Bucknell 2008) develops the<br />
phenomenological engagement between bodies and technology <strong>in</strong> the<br />
British landscape aesthetic. His work On the Surface: Th<strong>in</strong>k<strong>in</strong>g with<br />
Animals and Art (University of M<strong>in</strong>nesota Press, Fall 2011) develops a<br />
language for animal studies through exam<strong>in</strong>ation of contemporary art<br />
and phenomenology. Current projects <strong>in</strong>clude a dairy cattle art<br />
<strong>in</strong>stallation at the University of Waterloo, a book project on British<br />
Romantic peasant poetry and agriculture, and a manifesto on the<br />
animal revolution.<br />
› A Left-handed Primer for Approach<strong>in</strong>g Animal Art, Journal of Visual Art<br />
Practice, 9.1, 35-45.<br />
Alice Haylett Bryan is a Ph.D. student at K<strong>in</strong>g’s College London.<br />
› Hiroshima After Iraq: Three Studies <strong>in</strong> Art and War, Rosalyn Deutsche,<br />
(2010), Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 136-141.
Keywords<br />
Daniela Büchler<br />
University of Hertfordshire, School of<br />
Creative <strong>Arts</strong>, College Lane, Hatfield,<br />
Hertfordshire, AL10 9AB, United<br />
K<strong>in</strong>gdom<br />
Keywords practice-based, practiceled,<br />
criteria, method, art and design<br />
Roger M. Buergel<br />
University of Essex, Department of<br />
Art History & Theory, c/o Centre for<br />
Curatorial Studies, Wivenhoe Park,<br />
Colchester, CO4 3SQ, United<br />
K<strong>in</strong>gdom<br />
Keywords curat<strong>in</strong>g, art, American art,<br />
history<br />
Valerie Ann Bugmann<br />
Téllez<br />
Daniela Büchler has a BArch, MA(Res), Ph.D. Architecture (Brazil)<br />
and Ph.D. Design (United K<strong>in</strong>gdom). She is Senior Research Fellow at<br />
the University of Hertfordshire, United K<strong>in</strong>gdom, Visit<strong>in</strong>g Research<br />
Fellow at the Mackenzie Presbyterian University, São Paulo, Brazil,<br />
and Guest Scholar at Lund University, Sweden. Daniela has been<br />
<strong>in</strong>volved <strong>in</strong>ternationally with the organization of conferences, as an<br />
<strong>in</strong>vited speaker and as a member of scientific committees.<br />
› Eight criteria for practice-based <strong>research</strong> <strong>in</strong> the creative and cultural<br />
<strong>in</strong>dustries, Art, Design & Communication <strong>in</strong> Higher Education, 7.1, 5-18.<br />
Roger M. Buergel is a writer, curator and university teacher. He<br />
received his education from the Academy of F<strong>in</strong>e <strong>Arts</strong> <strong>in</strong> Vienna.<br />
Author and editor of numerous books, <strong>in</strong>clud<strong>in</strong>g a historiography of<br />
post-war American art (1999) and a monograph on Peter Friedl (2000),<br />
he curated exhibitions (often with Ruth Noack) that won critical<br />
acclaim, like ‘Th<strong>in</strong>gs we don’t understand’ (Generali Foundation<br />
Vienna, 2000) or ‘Governmentality. Art <strong>in</strong> conflict with the<br />
<strong>in</strong>ternational hyper-bourgeoisie and the national petty-bourgeoisie’<br />
(2000, Alte Kestner Gesellschaft Hannover and CHA Moscow), an<br />
exhibition subsequently extended <strong>in</strong>to a theme with variations (2003–<br />
2005, MACBA Barcelona; Miami Art Central; Witte de With<br />
Rotterdam; Secession Vienna). In 2003, Buergel became the artistic<br />
director of documenta 12, tak<strong>in</strong>g place <strong>in</strong> 2007. S<strong>in</strong>ce then he taught<br />
Art History at the Art Academy Karlsruhe and curated ‘Barely<br />
Someth<strong>in</strong>g’, a retrospective of Ai Weiwei (2010, Museum DKM<br />
Duisburg).<br />
› Notes on Display, and a Work by Alejandra Riera, Journal of Visual Art<br />
Practice, 9.2, 103-122.<br />
Valerie Ann Bugmann completed her studies <strong>in</strong> Art and Electronic<br />
Media at the University of Los Andes <strong>in</strong> Bogota <strong>in</strong> 2002. Her <strong>in</strong>terest<br />
<strong>in</strong> Electronic Media was further emphasized dur<strong>in</strong>g her studies <strong>in</strong><br />
Gothenburg (Sweden), where she received her Master’s degree <strong>in</strong> Art
Artificial Intelligence Laboratorz,<br />
Wipk<strong>in</strong>gerweg 21, Zurich, 8037,<br />
Switzerland<br />
Keywords robotics, wearable<br />
technology and prostheses,<br />
performance and cognition, touch<br />
Mie Buhl<br />
Danish University of Education,<br />
Department of Educational<br />
Anthropology, Tuborgvej 164,<br />
Copenhagen NV, DK 2400, Denmark<br />
Keywords education, visual culture,<br />
view<strong>in</strong>g, production<br />
Paul Buhle<br />
Brown University, American<br />
Civilization Department, Box 1892,<br />
Providence, Rhode Island, RI, 2912,<br />
United States of America<br />
Keywords Thunder <strong>in</strong> Guyana,<br />
Suzanne Wasserman, Janet Rosenberg<br />
Jagan, Cheddi Jagan, British Guyana,<br />
and Technology at the Chalmers University/IT University <strong>in</strong> 2005.<br />
Between 2006 and 2008, she took part <strong>in</strong> the Ph.D. studies at the Z-<br />
Node Program from the University of Plymouth <strong>in</strong> UK and the School<br />
for Art and Design <strong>in</strong> Zurich (ZHdK), Switzerland. After mov<strong>in</strong>g to<br />
Zurich <strong>in</strong> 2005 she has participated <strong>in</strong> several <strong>research</strong> projects: E-sk<strong>in</strong><br />
(Institute for Cultural Studies, ZHdK), Robot Hand (Artificial<br />
Intelligence Laboratory, University of Zurich), Robot Drama (Institute<br />
for the Perform<strong>in</strong>g <strong>Arts</strong> and Film, ZHdK and the AILab). These<br />
<strong>research</strong>es enriched her <strong>in</strong>terest <strong>in</strong> the development and use of wearable<br />
technologies/robotic prostheses, and their relation to cognition.<br />
› The drama of digital communication with a human touch, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 5.1, 45-54.<br />
Mie Buhl's <strong>research</strong> revolves around Media, IT and Visual<br />
Culture, with a particular emphasis on university education, teacher<br />
tra<strong>in</strong><strong>in</strong>g, primary school and educational design. Her <strong>in</strong>terests focus on<br />
the visual <strong>in</strong> digital media along with visual arts and visual culture <strong>in</strong><br />
education. She is director of the <strong>research</strong> programme on Media and<br />
ICT <strong>in</strong> a Learn<strong>in</strong>g Perspective at Aarhus University. She started her<br />
teach<strong>in</strong>g career <strong>in</strong> 1991 at the Danish Folkeskole. She was the head of<br />
an art school from 1993-95 and from 1995-1998 she was a senior<br />
lecturer at a teacher tra<strong>in</strong><strong>in</strong>g college. Her <strong>research</strong> career started <strong>in</strong><br />
1998 at the Royal Danish School of Educational Studies at<br />
the Department of Aesthetics and Media Pedagogy and later at<br />
the Department of Educational Anthropology, She was the cofounder<br />
of the Visual Culture <strong>in</strong> Education Unit at the Danish University of<br />
Education <strong>in</strong> 2002.<br />
› Visual culture as a strategic approach to art production <strong>in</strong> education,<br />
International Journal of Education through Art, 1.2, 103-114.<br />
Paul Buhle published Radical America Komiks <strong>in</strong> 1969 and<br />
edited Wobblies! <strong>in</strong> 2005. S<strong>in</strong>ce then he has edited n<strong>in</strong>e additional nonfiction<br />
comic books; he is also w<strong>in</strong>ner of the Will Eisner Award and<br />
the Harvey Award (with Denis Kitchen) for The Art of Harvey<br />
Kurtzman. He has served as Senior Lecturer at Brown University.<br />
› Reviews, Studies <strong>in</strong> Comics, 1.2, 379-403.<br />
› Harvey Pekar, <strong>in</strong> Memory, Studies <strong>in</strong> Comics, 1.2, 191-195.
Guyana, People’s Progressive Party<br />
(PPP), Forbes Burnham, Walter<br />
Rodney, Work<strong>in</strong>g People’s Alliance,<br />
Cold War<br />
Karen Bull<br />
Coventry University, Priory Street,<br />
Coventry, CV1 5FB, United K<strong>in</strong>gdom<br />
Keywords threshold concepts,<br />
<strong>in</strong>dustrial design, tacit knowledge,<br />
CETL, pedagogic <strong>research</strong><br />
Seth Bullock<br />
University of Southampton, School of<br />
Electronics and Computer Science,<br />
Southampton, SO17 1BJ, United<br />
K<strong>in</strong>gdom<br />
Keywords natural architectures,<br />
termite mounds, networks, computer<br />
simulation, computer model<strong>in</strong>g<br />
Karen Bull is Deputy Director, Centre of Excellence for Product and<br />
Automotive Design at Coventry University. This centre focuses on<br />
evaluat<strong>in</strong>g spatial design understand<strong>in</strong>g and identify<strong>in</strong>g the<br />
transformative threshold concepts associated with students enter<strong>in</strong>g the<br />
global community of practice for <strong>in</strong>dustrial design. Her expertise is <strong>in</strong><br />
<strong>in</strong>dustrial design theory, design analysis and design context.Her<br />
background is <strong>in</strong> product design and her Ph.D. is titled ‘Advanced<br />
Personal Telecommunications Products and Industrial Design’. She has<br />
cont<strong>in</strong>ued to <strong>research</strong> pedagogy <strong>in</strong> relation to art and design, and is<br />
especially <strong>in</strong>terested <strong>in</strong> the area of critical and reflective learn<strong>in</strong>g, eteach<strong>in</strong>g<br />
and learn<strong>in</strong>g and e-portfolio.<br />
› Threshold concepts and the transport and product design curriculum: reports<br />
of <strong>research</strong> <strong>in</strong> progress, Art, Design & Communication <strong>in</strong> Higher Education,<br />
8.2, 169-175.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 9.1, 95-101.<br />
After ga<strong>in</strong><strong>in</strong>g a BA <strong>in</strong> Cognitive Science and a D.Phil. (Ph.D.) <strong>in</strong><br />
Evolutionary Simulation Modell<strong>in</strong>g from the School of Cognitive and<br />
Comput<strong>in</strong>g Sciences at Sussex University (supervised by Dave Cliff<br />
and Phil Husbands), Seth Bullock spent two years <strong>in</strong> Berl<strong>in</strong> at the Max<br />
Planck Institute for Human Development work<strong>in</strong>g with Peter Todd on<br />
simulat<strong>in</strong>g the evolution of adaptive decision-mak<strong>in</strong>g behaviour <strong>in</strong><br />
people and other animals. In 1999 he took up a five-year University<br />
Research Fellowship at the University of Leeds and became a Lecturer<br />
there <strong>in</strong> 2004. In October 2005 he jo<strong>in</strong>ed the University of<br />
Southampton as Senior Lecturer, and helped to found the Science and<br />
Eng<strong>in</strong>eer<strong>in</strong>g of Natural Systems (SENSe) <strong>research</strong> group. In 2009 he<br />
became head of the SENSe group, and also became Director of<br />
Southampton’s new Institute for Complex Systems Simulation (ICSS).<br />
› Embrac<strong>in</strong>g the ‘tyranny of distance’: space as an enabl<strong>in</strong>g constra<strong>in</strong>t,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2, 141-152.
Hilary Bungay<br />
Canterbury Christ Church University,<br />
Sidney De Haan Research Centre for<br />
<strong>Arts</strong> & Health, Mill Bay, Folkestone,<br />
CT20 1JG, United K<strong>in</strong>gdom<br />
Keywords well-be<strong>in</strong>g, group s<strong>in</strong>g<strong>in</strong>g,<br />
health, older people, age<strong>in</strong>g<br />
Peter Burleigh<br />
University of Basel, Englisches<br />
Sem<strong>in</strong>ar, Nadelberg 6, CH-4051,<br />
Basel, Büro 16, Switzerland<br />
Keywords beach, spaces,<br />
photography<br />
Rosemary Burnett<br />
Keywords human rights, Amnesty<br />
International<br />
Hilary has been at Christ Church University s<strong>in</strong>ce June 2003. She is a<br />
part-time senior lecturer <strong>in</strong> Medical Imag<strong>in</strong>g and contributes to both<br />
radiography profession specific and the <strong>in</strong>terprofessional modules. For<br />
two days a week Hilary is seconded to the Sidney De Haan Research<br />
Centre where she is currently <strong>in</strong>volved <strong>in</strong> an evaluation of the Silver<br />
Song Club Project (Silver Song Clubs provide opportunities for older<br />
people to come together to make music and s<strong>in</strong>g with the guidance of<br />
experienced musicians and volunteer support). She has recently been<br />
look<strong>in</strong>g at ‘<strong>Arts</strong> on Prescription’ schemes around the country to<br />
<strong>in</strong>vestigate the feasibility of sett<strong>in</strong>g up a programme locally. Her<br />
particular <strong>research</strong> <strong>in</strong>terests are cancer, older people, and health service<br />
evaluation.<br />
› The Silver Song Club Project: A sense of well-be<strong>in</strong>g through participatory<br />
s<strong>in</strong>g<strong>in</strong>g, Journal of Applied <strong>Arts</strong> & Health, 1.2, 165-178.<br />
Peter Burleigh is lecturer <strong>in</strong> English Language and L<strong>in</strong>guistics at the<br />
University of Basel. He received a BSc. <strong>in</strong> Eng<strong>in</strong>eer<strong>in</strong>g Science at<br />
University of Exeter, and a Master of Studies <strong>in</strong> General L<strong>in</strong>guistics at<br />
Oxford. Recent publications <strong>in</strong>clude 1970s British Sitcom: applied<br />
tactics <strong>in</strong> conf<strong>in</strong>ed spaces (Portsmouth University) and The Burden of<br />
Moment: Photography's Inherent Monumentaliz<strong>in</strong>g Effect (Bielefeld).<br />
Research <strong>in</strong>terests <strong>in</strong>clude l<strong>in</strong>guistics, photography, and the male<br />
image.<br />
› The Beach as a Space of Defamiliarisation, Journal of Visual Art Practice,<br />
9.3, 245-257.<br />
Rosemary Burnett is author, translator and human rights defender and<br />
formerly Scottish Programme Director for Amnesty International. She<br />
worked for several years <strong>in</strong> Guatemala help<strong>in</strong>g to br<strong>in</strong>g the perpetrators<br />
of the Guatemalan genocide to justice.<br />
› Cry, Journal of <strong>Arts</strong> & Communities, 2.2, 123-131.<br />
Carl-Peter Buschkühle Carl-Peter Buschkuehle is Professor for Art Education at the Justus-<br />
Liebig- University <strong>in</strong> Giessen, Germany. His <strong>research</strong> centers on an
Justus-Liebig-University, Karl-<br />
Glöckner-Strasse 21 H, Giessen, D-<br />
35394, Germany<br />
Keywords knowledge, reflection and<br />
creation, artistic project, freedom and<br />
dignity, images and identity<br />
Matthew Bushell<br />
University of Northampton, School of<br />
the <strong>Arts</strong>, Park Campus, Boughton<br />
Green Road, Northampton, NN2<br />
7AL, United K<strong>in</strong>gdom<br />
Keywords creative writ<strong>in</strong>g,<br />
rehabilitation support<br />
Pavel Büchler<br />
Manchester Metropolitan University,<br />
Manchester School of Art, Righton<br />
Build<strong>in</strong>g, Cavendish Street,<br />
Manchester, M15 6BG, United<br />
K<strong>in</strong>gdom<br />
Keywords art, film, education,<br />
photography<br />
Chris Byrne<br />
Duncan of Jordanstone College of Art<br />
& Design, The School of Media <strong>Arts</strong><br />
& Imag<strong>in</strong>g, University of Dundee,<br />
Dundee, DD1 4HT, United K<strong>in</strong>gdom<br />
Keywords digital, networks,<br />
hypertext, writ<strong>in</strong>g<br />
‘artistic education’ where learn<strong>in</strong>g objectives and methods are derived<br />
from art. Thus he is deal<strong>in</strong>g with the theory of artistic th<strong>in</strong>k<strong>in</strong>g <strong>in</strong><br />
philosophy and psychology as well as with action <strong>research</strong> on ‘artistic<br />
projects’ <strong>in</strong> schools and university.<br />
› Freedom and dignity Identity through creation, International Journal of<br />
Education through Art, 6.3, 309-326.<br />
Matthew Bushell served three years <strong>in</strong> the British Army and has just<br />
completed a BA <strong>in</strong> Creative Writ<strong>in</strong>g at the University of Northampton.<br />
He has also been a director of a local arts organization, project manager<br />
for a local participatory arts project and a rehabilitation support worker<br />
for people with acquired bra<strong>in</strong> <strong>in</strong>jury.<br />
› Reviews, Journal of Applied <strong>Arts</strong> & Health, 1.2, 223-231.<br />
An artist, teacher and occasional writer, Pavel Büchler is Research<br />
Professor <strong>in</strong> F<strong>in</strong>e Art at Manchester Metropolitan University. He was a<br />
co-founder of the Cambridge Darkroom Gallery, and Head of School<br />
of F<strong>in</strong>e Art at Glasgow School of Art. He writes on contemporary art,<br />
photography, film and art education, has co-edited several anthologies<br />
of critical writ<strong>in</strong>g, and is the author of Ghost Stories: Stray Thoughts<br />
on Photography and Film (Proboscis, 1999).<br />
› Live view, Philosophy of Photography, 1.1, 14-17.<br />
Chris Byrne is a Lecturer at Duncan of Jordanstone College of Art &<br />
Design, Dundee. Until 2010 he was co-director of ARC Projects (Sofia,<br />
Bulgaria), which represented artists from Bulgaria, Bosnia, Estonia,<br />
Serbia, Slovenia and the United K<strong>in</strong>gdom. From 1999 to 2004, he was<br />
the found<strong>in</strong>g Director of New Media Scotland, where he curated and<br />
organized numerous projects, exhibitions, performances and<br />
residencies with artists across Scotland and <strong>in</strong>ternationally. Byrne’s<br />
ma<strong>in</strong> practice as a curator and <strong>research</strong>er over the past decade has been<br />
focussed on networked and collaborative art practices, Internet art,<br />
sound and performance. He has also cont<strong>in</strong>ued his long-stand<strong>in</strong>g
Joel Cahen<br />
United K<strong>in</strong>gdom<br />
Keywords gnostic, sound compos<strong>in</strong>g,<br />
codes, metaphysics, co-evolution<br />
Gordon Calleja<br />
IT University of Copenhagen, Center<br />
for Computer Games Research, Rued<br />
Langaards Vej 7, Copenhagen S, DK-<br />
2300, Denmark<br />
Keywords digitality, hypertext, nonl<strong>in</strong>earity,<br />
posthumanism, rhizome,<br />
Massively Multiplayer Onl<strong>in</strong>e Games<br />
<strong>in</strong>terest <strong>in</strong> mov<strong>in</strong>g image media, <strong>in</strong> particular, video art and<br />
experimental film. More recently, he has rediscovered an enthusiasm<br />
for artworks experiment<strong>in</strong>g with traditional media: pa<strong>in</strong>t<strong>in</strong>g, draw<strong>in</strong>g,<br />
sculpture and pr<strong>in</strong>t.<br />
› Hold<strong>in</strong>g a mirror to ourselves: how digital networks chAng writiN, Journal<br />
of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 265-277.<br />
S<strong>in</strong>ce 2001, Joel Cahen has worked as sound designer on a number of<br />
<strong>in</strong>stallations, films, theatre and dance productions. He collaborated<br />
with video artist Julian Ronnefeldt and performance artist Lennie Lee<br />
and with members of The Black Poodle at Tate Brita<strong>in</strong>. As an<br />
experimental film-maker, Busbug was awarded first prize at the<br />
Institute of Contemporary <strong>Arts</strong> <strong>in</strong> 2005 as well as best short film at<br />
Shortcuts 2005. His films have been shown at numerous film festivals<br />
throughout Europe. He has curated a series of experimental art and<br />
music events <strong>in</strong> London s<strong>in</strong>ce 2002, <strong>in</strong>clud<strong>in</strong>g ‘Evil Art’ at the 291<br />
Gallery and ‘The Wormhole Saloon’ at The Whitechapel Gallery. He<br />
has a fortnightly show on Resonance fm called<br />
TheSaturdayNightMashUp, and has worked as a DJ <strong>in</strong> London, Berl<strong>in</strong>,<br />
New York and Limerick.<br />
› Tech Art: the effects of code and network systems on music and art,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.2, 185-198.<br />
Gordon Calleja is Associate Professor and the Head of the Center for<br />
Computer Games Research at the IT University of Copenhagen. He<br />
also lectures <strong>in</strong> Game Theory. He has published <strong>in</strong> various journals of<br />
gam<strong>in</strong>g and technology studies, and <strong>in</strong> 2011 published a book, In-<br />
Game: From Immersion to Incorporation. His work takes an<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary approach to theoretical issues <strong>in</strong> Virtual Reality,<br />
br<strong>in</strong>g<strong>in</strong>g together neuropsychology, philosophy of m<strong>in</strong>d and the<br />
theoretical humanities to explore how technologies of the virtual are<br />
reconfigur<strong>in</strong>g the imag<strong>in</strong>ation.<br />
› Rhizomatic cyborgs: hypertextual considerations <strong>in</strong> a posthuman age,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 2.1, 3-16.<br />
› Techno-mediated otherworlds, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 4.2, 129-140.
Ben Calvert<br />
University of Gloucestershire, School<br />
of Art, Media and Design, Pitville<br />
Campus, Albert Road, Cheltenham,<br />
Gloucestershire, GL52 3JG, United<br />
K<strong>in</strong>gdom<br />
Keywords supervision, media<br />
studies, practice, theory, collaboration<br />
Sheena Calvert<br />
University of Hertfordshire, Hatfield,<br />
AL10 9AB, United K<strong>in</strong>gdom<br />
Keywords language, philosophy,<br />
photography, avant-garde book arts,<br />
dada, logic<br />
M<strong>in</strong>acha Cam<strong>in</strong>o<br />
University of Manchester, Oxford<br />
Road, Manchester, M13 9PL, United<br />
K<strong>in</strong>gdom<br />
Keywords qualitative <strong>research</strong>,<br />
design, f<strong>in</strong>e art, reflective practice,<br />
practice and theory<br />
Ben Calvert is Field Chair <strong>in</strong> Media Communications at the University<br />
of Gloucestershire. His academic background is <strong>in</strong> the social sciences<br />
and his doctorate was a study of the popular f<strong>in</strong>ancial press <strong>in</strong> Brita<strong>in</strong><br />
dur<strong>in</strong>g the 1980s. He has taught on media studies undergraduate and<br />
postgraduate programmes, and has recently published work on<br />
television studies.<br />
› Support<strong>in</strong>g and assess<strong>in</strong>g dissertations and practical projects <strong>in</strong> media studies<br />
degrees: towards collaborative learn<strong>in</strong>g, Art, Design & Communication <strong>in</strong><br />
Higher Education, 3.1, 47-60.<br />
Sheena Calvert, BA, MFA, lectures <strong>in</strong> Critical and Cultural studies at<br />
the University of Hertfordshire [UH], UK. She holds a BA <strong>in</strong> design<br />
and typography from the Central St. Mart<strong>in</strong>s School of Art, and her<br />
MFA was ga<strong>in</strong>ed at Yale University <strong>in</strong> the USA. She has taught at the<br />
University of Massachusetts, Rutgers University, NJ, and at various<br />
UK art and design <strong>in</strong>stitutions. Currently, she is an AHRC Doctorate<br />
Award holder, <strong>in</strong> the third year of a Ph.D. project with<strong>in</strong> the School of<br />
Humanities at the University of Greenwich, entitled: 'In Other Words:<br />
A Poetics of Material Language'. Her Ph.D. <strong>research</strong> <strong>in</strong>vestigates the<br />
relationship between material language and various philosophies of<br />
language: engag<strong>in</strong>g with both analytic and postmodern traditions <strong>in</strong><br />
philosophy. Other <strong>in</strong>terests <strong>in</strong>clude various avant-garde and<br />
experimental forms of typography and book arts, poetry, modern<br />
architecture (and its discontents), Surrealism, dada, and, more recently,<br />
logic.<br />
› Recent PhD Abstracts, Philosophy of Photography, 1.2, 241-245.<br />
M<strong>in</strong>acha Cam<strong>in</strong>o is currently a Lecturer <strong>in</strong> Critical Studies. She has<br />
also published papers for various journals and conferences. Her article<br />
<strong>in</strong> the Journal of Writ<strong>in</strong>g and Creative Practice forms part of the<br />
prelim<strong>in</strong>ary <strong>research</strong> for Cam<strong>in</strong>o’s doctoral dissertation entitled<br />
‘Critical Studies and the generation of text issue: synthesis of practice<br />
and theory’.<br />
› An exam<strong>in</strong>ation of the Journal used as a vehicle to br<strong>in</strong>g about a synthesis<br />
between theory and practice <strong>in</strong> Art and Design higher education, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 317-340.
David Campany<br />
University of Westm<strong>in</strong>ster, Media Art<br />
and Design, Watford Road, London,<br />
HA1 3TP, United K<strong>in</strong>gdom<br />
Keywords art, photography,<br />
philosophy<br />
Cyril Camus<br />
University of Toulouse, Département<br />
d'Etudes du Monde Anglophone,<br />
Tournefeuille, France<br />
Keywords literature, popular fiction,<br />
myth, graphic novels<br />
Susan Carden<br />
The Glasgow School of Art, 167<br />
Renfrew Street, Glasgow, G3 6RQ,<br />
United K<strong>in</strong>gdom<br />
Keywords art, textiles, technology,<br />
practice-led <strong>research</strong><br />
David Campany teaches at the University of Westm<strong>in</strong>ster, where he is<br />
a Reader <strong>in</strong> Photography. He writes and curates extensively. His books<br />
<strong>in</strong>clude Art and Photography (Phaidon Press, 2003) and Photography<br />
and C<strong>in</strong>ema (Reaktion Books, 2008). His essays have appeared <strong>in</strong> The<br />
Oxford Art Journal, Frieze, Source, Papel Alpha, Photoworks, AA<br />
Files, Tate Magaz<strong>in</strong>e, Art Review, , , Ojodepez and Aperture. He is Coeditor<br />
of magaz<strong>in</strong>e.<br />
› Dr<strong>in</strong>k the w<strong>in</strong>e, discard the bottle, then dr<strong>in</strong>k someth<strong>in</strong>g else, Philosophy of<br />
Photography, 1.1, 18-21.<br />
Cyril Camus is a Ph.D. student and a teach<strong>in</strong>g assistant at the<br />
University of Toulouse. His thesis deals with myth and popular fiction<br />
writ<strong>in</strong>g, through the study of Neil Gaiman’s novels, comics and<br />
screenplays. Apart from the Magus conference, his <strong>research</strong> papers on<br />
Gaiman, Moore, comics and fantasy fiction have been published or are<br />
to be published <strong>in</strong> the book Mounta<strong>in</strong>s Figured and Disfigured <strong>in</strong> the<br />
English-Speak<strong>in</strong>g World (Cambridge Scholars Publish<strong>in</strong>g, 2010) and <strong>in</strong><br />
the journals Otrante: Art et littérature fantastiques (Editions Kimé,<br />
autumn 2010 issue) and Shofar: An Interdiscipl<strong>in</strong>ary Journal of Jewish<br />
Studies (Purdue UP, w<strong>in</strong>ter 2011 issue).<br />
› Neil Gaiman: A portrait of the artist as a disciple of Alan Moore, Studies <strong>in</strong><br />
Comics, 2.1, 147-157.<br />
Susan Carden is a full-time Ph.D. candidate with<strong>in</strong> the Centre for<br />
Advanced Textiles at the Glasgow School of Art. A textile designer,<br />
<strong>who</strong>se practice comb<strong>in</strong>es craft, structured and digitally pr<strong>in</strong>ted textiles,<br />
her practice-led <strong>research</strong> explores the use of craft practices as<br />
<strong>in</strong>terventions <strong>in</strong> the digital pr<strong>in</strong>t<strong>in</strong>g of textiles. She has recently<br />
presented at a number of <strong>in</strong>ternational conferences.<br />
› Digitally pr<strong>in</strong>ted textiles: A number of specifi c issues surround<strong>in</strong>g <strong>research</strong>,<br />
Craft Research, 2.1, 83-95.<br />
L<strong>in</strong>dsey Carey L<strong>in</strong>dsey Carey, a lecturer at Glasgow Caledonian University obta<strong>in</strong>ed<br />
her Ph.D. <strong>in</strong> the area of consumer psychology and decision-mak<strong>in</strong>g.
Glasgow Caledonian University<br />
Keywords<br />
Bernadette Casey<br />
University College Plymouth St.<br />
Marks and St. John, School of<br />
Creative <strong>Arts</strong>, Communications and<br />
Management, Derriford Road,<br />
Plymouth, PL6 8BH, United<br />
K<strong>in</strong>gdom<br />
Keywords supervision, media<br />
studies, practice, theory, collaboration<br />
Laura Borràs Castanyer<br />
Universitat de Barcelona,<br />
Comparative Literature and Literary<br />
Theory, Barcelona, Spa<strong>in</strong><br />
Keywords literary theory, digital<br />
literature, distance learn<strong>in</strong>g<br />
Her <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> the areas of consumer behaviour and<br />
motivations, ethical consumption, eco-fashion, and value-cloth<strong>in</strong>g.<br />
› Consumers' perceptions of 'green': Why and how consumers use eco-fashion<br />
and green beauty products, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 117-<br />
138.<br />
Bernadette Casey is Dean of the School of Creative <strong>Arts</strong>,<br />
Communications and Management and lectures <strong>in</strong> media studies and<br />
sociology at the College of St Mark and St John, Plymouth. Her<br />
academic background is <strong>in</strong> sociology/cultural studies and her doctorate<br />
was an ethnographic study of an arts centre. She has taught for many<br />
years <strong>in</strong> sociology and media studies and has published <strong>in</strong> both<br />
discipl<strong>in</strong>es.<br />
› Support<strong>in</strong>g and assess<strong>in</strong>g dissertations and practical projects <strong>in</strong> media studies<br />
degrees: towards collaborative learn<strong>in</strong>g, Art, Design & Communication <strong>in</strong><br />
Higher Education, 3.1, 47-60.<br />
Laura Borràs Castanyer, Ph.D. <strong>in</strong> Romance Philology (1997) from the<br />
UB, has atta<strong>in</strong>ed the qualification of European Doctor (1997) and has<br />
been awarded the Special Ph.D. Prize (1998) <strong>in</strong> Social Sciences at the<br />
same university. She is an associate professor on Comparative<br />
Literature and Literary Theory at the University of Barcelona. She<br />
devoted the last 12 years to develop the Open and Distance Learn<strong>in</strong>g<br />
(ODL) on the literary field –ma<strong>in</strong>ly on Comparative Literature and<br />
Digital Literature as well. Member of the Literary Advisory Board of<br />
the ELO, from 2000, she directs and is the ma<strong>in</strong> <strong>in</strong>vestigator of the<br />
International Research Group HERMENEIA, made up of professors<br />
and <strong>in</strong>vestigators from various European and American universities,<br />
<strong>who</strong>se mission is to study connections between Literary Studies and<br />
Digital Technologies.<br />
› From ‘words, words, words’ to ‘birds, birds, birds’. Literature between the<br />
representation and the presentation: where imag<strong>in</strong>ation and reflection still,<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 4.1, 107-120.
Carlos Castellanos<br />
Simon Fraser University, School of<br />
Interactive <strong>Arts</strong>, 250-13450 102<br />
Avenue, Surrey, BC, V3T 0A3,<br />
Canada<br />
Keywords phenomenology,<br />
embodiment, symbiogenesis, coevolution,<br />
artificial <strong>in</strong>telligence<br />
Oron Catts<br />
Dept Anatomy and Human Biology,<br />
University of Western Australia, 35<br />
Crawley Avenue, Nedlands, WA<br />
6009, Australia<br />
Keywords tissue culture, art,<br />
organisms<br />
Clive Cazeaux<br />
University of Wales Institute, School<br />
of Art and Design, Howard Gardens,<br />
Cardiff, CF24 0SP, United K<strong>in</strong>gdom<br />
Keywords sense perception, Merleau-<br />
Ponty, cognition, phenomenology,<br />
aesthetics<br />
Carlos Castellanos is an <strong>in</strong>terdiscipl<strong>in</strong>ary artist and <strong>research</strong>er. His<br />
<strong>research</strong> and art practice focus on networks, artificial <strong>in</strong>telligence,<br />
human-computer <strong>in</strong>teraction and cultural theory. He was a National<br />
Science Foundation IGERT fellow <strong>in</strong> Interactive Digital Multimedia<br />
and a California State University Sally Casanova Pre-doctoral Scholar.<br />
He is currently pursu<strong>in</strong>g a Ph.D. at the School of Interactive <strong>Arts</strong> and<br />
Technology, Simon Fraser University, where he is explor<strong>in</strong>g the<br />
aesthetics of <strong>in</strong>formation technologies and their effects on lived<br />
embodied human experience. Castellanos splits his time between<br />
Vancouver and San Francisco.<br />
› The symbiogenic experience: towards a framework for understand<strong>in</strong>g<br />
human–mach<strong>in</strong>e coupl<strong>in</strong>g <strong>in</strong> the <strong>in</strong>teractive arts, Technoetic <strong>Arts</strong>: A Journal<br />
of Speculative Research, 8.1, 11-18.<br />
Oron Catts is Artistic Director of SymbioticA, artist/<strong>research</strong>er and<br />
curator. He founded the Tissue Culture and Art Project (TC&A) <strong>in</strong><br />
1996 and is co-founder and Artistic Director of SymbioticA - The Art<br />
& Science Collaborative Research Laboratory at The School of<br />
Anatomy & Human Biology, University of Western Australia. He is<br />
curator of Biofeel exhibition and The Aesthetics of Care? Symposium,<br />
2002 and BioDifferences BEAP 2004 and a <strong>research</strong> Fellow at the<br />
Tissue Eng<strong>in</strong>eer<strong>in</strong>g & Organ Fabrication Laboratory, Massachusetts<br />
General Hospital, Harvard Medical School (2000-2001). He tra<strong>in</strong>ed <strong>in</strong><br />
product design (BA, Honours), and Visual Art (MA) and has exhibited,<br />
published and conducted workshops of his own work as well as the<br />
work of SymbioticA <strong>in</strong>ternationally.<br />
› Are the Semi-Liv<strong>in</strong>g semi-good or semi-evil?, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 1.1, 47-60.<br />
Clive Cazeaux is Reader <strong>in</strong> Aesthetics at the University of Wales<br />
Institute, Cardiff. He is the author of Metaphor and Cont<strong>in</strong>ental<br />
Philosophy: From Kant to Derrida (Routledge, 2007) and the editor of<br />
The Cont<strong>in</strong>ental Aesthetics Reader (2nd edition; Routledge, 2011). He<br />
has also written articles on metaphor, the philosophy of visual arts<br />
<strong>research</strong>, and the relation between art and philosophy.<br />
› Categories <strong>in</strong> action: Sartre and the theory-practice debate, Journal of Visual<br />
Art Practice, 2.1, 44-56.<br />
› From sensation to categorization: aesthetic metaphor <strong>in</strong> Locke and Merleau-
Catal<strong>in</strong>a Cepeda<br />
Universidad Autonoma de Yucatan,<br />
Facultad de Ingeneria Chemica, Av<br />
Juarez 421, Cuidad Industrial, Apdo.<br />
Postal 1226-A, Merida, Yucatan,<br />
Mexico<br />
Keywords science, education, art,<br />
DNA, genetics<br />
António Cerveira P<strong>in</strong>to<br />
R. Alberto Oliviera, Palacio<br />
Corecheus, At. 27, Lisboa, 1700-019,<br />
Portugal<br />
Keywords emergence, syncretism,<br />
transvergence, teleonomy, symmetry<br />
Marie-Cécile Cervellon<br />
International University of Monaco,<br />
International University of Monaco, 2<br />
bd Albert II, 98000 Monte-Carlo,<br />
Pr<strong>in</strong>cipality of Monaco<br />
Keywords<br />
Ponty, Journal of Visual Art Practice, 4.2, 111-124.<br />
› Inherently <strong>in</strong>terdiscipl<strong>in</strong>ary: four perspectives on practice-based <strong>research</strong>,<br />
Journal of Visual Art Practice, 7.2, 107-132.<br />
Catal<strong>in</strong>a Cepeda is Professor at the Autonomous University of<br />
Yucatan, Mexico, commissioned by the Spanish Agency of<br />
International Cooperation. She has a Ph.D. <strong>in</strong> Biology and <strong>research</strong>es<br />
the <strong>in</strong>tersection between art and science. She designs science education<br />
materials <strong>in</strong> collaboration with visual artists and runs lectures and<br />
workshops. She has taken art courses and is currently learn<strong>in</strong>g<br />
traditional Mexican crafts skills.<br />
› Art <strong>in</strong> science education: Creative visions of DNA by eng<strong>in</strong>eer<strong>in</strong>g students,<br />
International Journal of Education through Art, 3.1, 37-42.<br />
António Cerveira P<strong>in</strong>to is an artist, writer and professional consultant,<br />
presently futuriz<strong>in</strong>g the world after the cheap oil era. Founder and<br />
director of the legendary Quadrum Contemporary Art Gallery <strong>in</strong><br />
Lisbon, and of the art school Aula do Risco, both <strong>in</strong> Lisbon, he created<br />
– among countless projects – the Great Estuary Project, to transform<br />
Lisbon <strong>in</strong>to a biocity <strong>in</strong> 2020. Post-contemporary culture and cognitive<br />
arts are his specific fields of <strong>in</strong>vestigation and creativity.<br />
› Deep thought: an account of The Spirit of Discovery conference at Trancoso,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 4.2, 105-108.<br />
Marie-Cécile Cervellon holds a Ph.D. from McGill University,<br />
Montreal, Canada. She is Associate Professor of Market<strong>in</strong>g at the<br />
International University of Monaco. Her <strong>research</strong> <strong>in</strong>terests focus on<br />
consumer behaviour and misbehaviour related to the luxury and<br />
fashion <strong>in</strong>dustries, as well as to ethical and green consumption.<br />
› Consumers' perceptions of 'green': Why and how consumers use eco-fashion<br />
and green beauty products, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 117-<br />
138.
Simon Chadwick<br />
Glasgow School of Art, 167 Renfrew<br />
Street, Glasgow, United K<strong>in</strong>gdom<br />
Keywords architecture, crit, critical<br />
distance, critical review, design studio<br />
Brian Chalkley<br />
Chelsea College of Art and Design -<br />
University of the <strong>Arts</strong> London, 16<br />
John Islip Street, Millbank, London,<br />
SW1P 4JU, United K<strong>in</strong>gdom<br />
Keywords Postgraduate Diploma<br />
courses, crossovers, curat<strong>in</strong>g,<br />
learn<strong>in</strong>g, teach<strong>in</strong>g strategy<br />
Kather<strong>in</strong>e Champion<br />
University of Abertay, Department of<br />
Urban Studies, Dundee Bus<strong>in</strong>ess<br />
School, Tayside, Dundee, DD1 1HG,<br />
United K<strong>in</strong>gdom<br />
Keywords Greater Manchester,<br />
economic restructur<strong>in</strong>g, <strong>in</strong>dustrial<br />
location, gentrification, creative<br />
<strong>in</strong>dustries<br />
Simon Chadwick teaches full time at the Mack<strong>in</strong>tosh School of<br />
Architecture. He is currently complet<strong>in</strong>g a Postgraduate Certificate <strong>in</strong><br />
Learn<strong>in</strong>g and Teach<strong>in</strong>g <strong>in</strong> Art, Design and Education. His desire for an<br />
improved review system has been fuelled from a theoretical standpo<strong>in</strong>t<br />
ga<strong>in</strong>ed through his practice, teach<strong>in</strong>g and <strong>research</strong>. Follow<strong>in</strong>g a<br />
successful bid for fund<strong>in</strong>g through the Glasgow School of Art Learn<strong>in</strong>g<br />
and Teach<strong>in</strong>g opportunity, his <strong>research</strong> has been recognized and<br />
supported by the Mack<strong>in</strong>tosh School.<br />
› Mutual respect: work<strong>in</strong>g towards a modern review model, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 5.2, 145-152.<br />
Brian Chalkley is Course Director of the MA F<strong>in</strong>e Art programme and<br />
Postgraduate Forum Leader at the Chelsea College of Art & Design,<br />
University of the <strong>Arts</strong>, London. Brian studied at Chelsea College of Art<br />
(1970–73) then went on to study at Slade School of Art (1973–75). He<br />
has taught <strong>in</strong> art schools across the United K<strong>in</strong>gdom at<br />
Foundation/BA/MA level s<strong>in</strong>ce leav<strong>in</strong>g college, and <strong>in</strong> 1989 he<br />
received the Rome Award at the British School at Rome. Brian took up<br />
a full-time teach<strong>in</strong>g post at Chelsea <strong>in</strong> 1991 and was Course Director<br />
for the Postgraduate Diploma Course at Chelsea 2000–2006. Brian’s<br />
own art practice deals with issues of gender and identity through<br />
photography, pa<strong>in</strong>t<strong>in</strong>g and performance. His recent work was shown at<br />
the 2007 Venice Biennale and Frieze Art fair.<br />
› Learn<strong>in</strong>g <strong>in</strong> groups: the student experience <strong>in</strong> Postgraduate Diplomas of F<strong>in</strong>e<br />
Art, Art, Design & Communication <strong>in</strong> Higher Education, 6.2, 117-132.<br />
Kather<strong>in</strong>e Champion is a <strong>research</strong> assistant <strong>in</strong> Dundee Bus<strong>in</strong>ess School<br />
at the University of Abertay, Dundee. She is currently work<strong>in</strong>g on an<br />
ESRC funded bus<strong>in</strong>ess engagement project explor<strong>in</strong>g the management<br />
challenges fac<strong>in</strong>g SMEs <strong>in</strong> the digital media <strong>in</strong>dustries, with a partner<br />
firm from the computer games sector. She has recently completed her<br />
Ph.D. thesis at the Department of Urban Studies, University of<br />
Glasgow which focused on the ways <strong>in</strong> which space and place matter to<br />
the creative <strong>in</strong>dustries sector with a case study of selected firms with<strong>in</strong><br />
Greater Manchester.<br />
› Hobson's choice? Constra<strong>in</strong>ts on access<strong>in</strong>g spaces of creative production <strong>in</strong> a<br />
transform<strong>in</strong>g <strong>in</strong>dustrial conurbation, Creative Industries Journal, 3.1, 11-28.
Jacquel<strong>in</strong>e Chanda<br />
College of F<strong>in</strong>e <strong>Arts</strong>, Music Buildng,<br />
Room 111, P.O. Box 21004, Tucson,<br />
Arizona, AZ 85721, United States of<br />
America<br />
Keywords art history,<br />
<strong>in</strong>terdiscipl<strong>in</strong>arity, African art,<br />
learn<strong>in</strong>g, technology<br />
Rob<strong>in</strong> M. Chandler<br />
Northeastern University, Department<br />
of African American Studies, 132<br />
Night<strong>in</strong>gale Hall, Boston, MA, 2115,<br />
United States of America<br />
Keywords cultural identity,<br />
pedagogy, race awareness, museums,<br />
visual representation<br />
Shaun Chang<br />
Ch<strong>in</strong>a Youth University, Journalism<br />
Department, E308, 46 Fangjia<br />
Hutong, Dongcheng District, Beij<strong>in</strong>g,<br />
100007, Ch<strong>in</strong>a<br />
Keywords cultural <strong>in</strong>dustries,<br />
creative <strong>in</strong>dustries, cultural <strong>in</strong>dustry<br />
reforms, International Creative<br />
Industries Alliance Beij<strong>in</strong>g (ICIA)<br />
Jacquel<strong>in</strong>e Chanda is Professor of Art Education and Art History and<br />
Associate Dean of the College of F<strong>in</strong>e <strong>Arts</strong> at the University of<br />
Arizona. She obta<strong>in</strong>ed her BA <strong>in</strong> draw<strong>in</strong>g and pa<strong>in</strong>t<strong>in</strong>g from the<br />
University of California at Los Angeles, her MA <strong>in</strong> Art Education and<br />
Ph.D. <strong>in</strong> African Art History from the Sorbonne University <strong>in</strong> Paris,<br />
France. She is the author of three published books, African <strong>Arts</strong> and<br />
Cultures, Discover<strong>in</strong>g African Art, and Harcourt’s Art Everywhere (coauthored).<br />
Her <strong>research</strong> <strong>in</strong>terests focus on issues of pedagogy and<br />
cognition, teach<strong>in</strong>g art history and non-western art <strong>in</strong> primary and<br />
secondary educational environments.<br />
› Learn<strong>in</strong>g from images: a source of <strong>in</strong>terdiscipl<strong>in</strong>ary knowledge, International<br />
Journal of Education through Art, 3.1, 7-18.<br />
Dr. Rob<strong>in</strong> Chandler has been a professional artist for more than 30<br />
years, exhibit<strong>in</strong>g <strong>in</strong> the United States and abroad and has a portfolio <strong>in</strong><br />
the visual arts. An <strong>in</strong>terdiscipl<strong>in</strong>ary scholar <strong>in</strong> sociology, Chandler is a<br />
known as 'the people's sociologist' by the media, especially on arts,<br />
culture, and gender issues. As a Fulbight scholar and Fulbright<br />
Specialist she has conducted field <strong>research</strong> and community projects,<br />
and taught and lectured <strong>in</strong> South America, Africa, Lat<strong>in</strong> America, the<br />
Carribean, Australia, Asia and the United States. She is an associate<br />
professor <strong>in</strong> Northeastern University's College of Social Sciences and<br />
Humanities. She is a widely published author and has been a consultant<br />
to numerous museums, governments, and corporations.<br />
› Colorquest©: A museum pedagogy on ethnic self-identity, representation<br />
and cultural histories at the Boston MFA, International Journal of Education<br />
through Art, 3.3, 173-184.<br />
Shaun Chang is the former project director of the International Creative<br />
Industries Alliance Beij<strong>in</strong>g (ICIA) and founder of the wenhua <strong>in</strong>dustry<br />
website. She is currently a lecturer at the School of Journalism and<br />
Communication at Ch<strong>in</strong>a Youth University and Communication<br />
University of Ch<strong>in</strong>a, Beij<strong>in</strong>g. Shaun Chang has published two books <strong>in</strong><br />
Ch<strong>in</strong>ese <strong>in</strong> Ch<strong>in</strong>a, Fans are Powerful and A Glimpse of Taiwan<br />
Military Villages by Enrich Culture. Shaun Chang runs a production<br />
company which produces documentaries for National Geographic<br />
Channel and Discovery <strong>in</strong> Beij<strong>in</strong>g. The comapny is called Infocus Asia<br />
Ch<strong>in</strong>a, www.<strong>in</strong>focusasia.com.
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
University of Birm<strong>in</strong>gham, Centre for<br />
Urban and Regional Studies,<br />
Birm<strong>in</strong>gham Bus<strong>in</strong>ess School, J. G.<br />
Smith Build<strong>in</strong>g, Birm<strong>in</strong>gham, B15<br />
2TT, United K<strong>in</strong>gdom<br />
Keywords creative <strong>in</strong>dustries,<br />
cultural and creative clusters, creative<br />
citizenship, <strong>in</strong>novation, creative class,<br />
local and regional development,<br />
public policies<br />
J. J. Charlesworth<br />
Tate Brita<strong>in</strong>, London<br />
Keywords<br />
Jane Charlton<br />
York St John University, Faculty of<br />
Art, Lord Mayor's Walk, York, YO31<br />
7EX, United K<strong>in</strong>gdom<br />
Keywords student needs, f<strong>in</strong>e art,<br />
text-based outcomes<br />
› Great expectations: Ch<strong>in</strong>a's cultural <strong>in</strong>dustry and case study of a<br />
governmentsponsored creative cluster, Creative Industries Journal, 1.3, 263-<br />
273.<br />
Dr. Carol<strong>in</strong>e Chapa<strong>in</strong> is a Research Fellow at the Centre for Urban and<br />
Regional Studies at the University of Birm<strong>in</strong>gham. Her ma<strong>in</strong> <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude local and regional economic development, creative<br />
<strong>in</strong>dustries, digital cities, economic restructur<strong>in</strong>g and plant closure and<br />
public policies. Carol<strong>in</strong>e has been <strong>in</strong>volved <strong>in</strong> a variety of projects<br />
look<strong>in</strong>g at creative <strong>in</strong>dustries at the local, national and European levels.<br />
She is one of the coord<strong>in</strong>ators of the RSA Research Network on<br />
Creative Regions.<br />
› Drivers and Processes of Creative Industries <strong>in</strong> Cities and Regions, Creative<br />
Industries Journal, 2.1, 9-18.<br />
› Location, location, location: explor<strong>in</strong>g the complex relationship between<br />
creative <strong>in</strong>dustries and place, Creative Industries Journal, 3.1, 5-10.<br />
J. J. Charlesworth is a freelance critic and associate editor of Art<br />
Review magaz<strong>in</strong>e.<br />
› Doug Fishbone: Elm<strong>in</strong>a, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1,<br />
99-101.<br />
Jane Charlton is Senior Lecturer <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> at York St John<br />
University with 21 years of experience teach<strong>in</strong>g undergraduate and<br />
postgraduate programmes <strong>in</strong> Higher Education. Charlton is an artist<br />
with recent residencies <strong>in</strong> Australia, Italy and Cyprus (April 2008)<br />
hav<strong>in</strong>g developed partnerships with seven European universities<br />
<strong>in</strong>clud<strong>in</strong>g external exam<strong>in</strong>er and supervisor of <strong>research</strong> students from<br />
University Suor Orsola, Naples and Monash University. She has<br />
experience of national and <strong>in</strong>ternational projects, course and<br />
curriculum development and is committed to enhanc<strong>in</strong>g the teach<strong>in</strong>g<br />
and learn<strong>in</strong>g experience of others and to personal and professional<br />
development. Charlton was awarded University Teach<strong>in</strong>g fellow status<br />
<strong>in</strong> 2007/8.
Kim Charnley<br />
Plymouth College of <strong>Arts</strong><br />
Keywords theory, practice, arts,<br />
education<br />
Veena Chattaraman<br />
Auburn University, Department of<br />
Consumer Affairs, Auburn, AL<br />
36849, United States of America<br />
Keywords art, design, market<strong>in</strong>g,<br />
<strong>research</strong>, apparel, textiles, education<br />
Helen J. Chatterjee<br />
University College London, Room<br />
G17, UCL Wolfson House, 4<br />
Stephenson Way, London, NW1 2HE,<br />
United K<strong>in</strong>gdom<br />
Keywords education, object<br />
handl<strong>in</strong>g, touch<br />
› ‘Beh<strong>in</strong>d the l<strong>in</strong>es and l<strong>in</strong>es and l<strong>in</strong>es’: student studio solutions to projects that<br />
facilitate the exploration of visual and textual languages with<strong>in</strong> f<strong>in</strong>e arts<br />
practice, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.3, 237-259.<br />
Kim Charnley is a Ph.D. <strong>research</strong>er study<strong>in</strong>g the role of theory <strong>in</strong><br />
politicized art practice. After graduat<strong>in</strong>g <strong>in</strong> f<strong>in</strong>e art he worked for eight<br />
years <strong>in</strong> an art education project based <strong>in</strong> Portland Square, Bristol. He<br />
now teaches at Plymouth College of Art.<br />
› Dissensus and the politics of collaborative practice, Art & the Public Sphere,<br />
1.1, 37-54.<br />
Veena Chattaraman is an Assistant Professor at the Department of<br />
Consumer Affairs at Auburn University, USA. She received her Ph.D.<br />
from the Department of Consumer Sciences at the Ohio State<br />
University. Her expertise lies <strong>in</strong> product and market<strong>in</strong>g <strong>research</strong> with<br />
an applied emphasis on the apparel <strong>in</strong>dustry. She has presented several<br />
papers on the pedagogy of teach<strong>in</strong>g and learn<strong>in</strong>g, particularly as it<br />
relates to the discipl<strong>in</strong>e of design at the conferences of the International<br />
Textile and Apparel Association. The topics have ranged from<br />
scenario-based projects <strong>in</strong> design to the application of action-learn<strong>in</strong>g<br />
projects <strong>in</strong> undergraduate and graduate education.<br />
› Action learn<strong>in</strong>g: Application to case study development <strong>in</strong> graduate design<br />
education, Art, Design & Communication <strong>in</strong> Higher Education, 9.2, 183-198.<br />
Helen Chatterjee is Deputy Director of Museums and Collections and<br />
Senior Lecturer <strong>in</strong> Biological Sciences at University College London.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude touch and the value of object handl<strong>in</strong>g <strong>in</strong><br />
health and wellbe<strong>in</strong>g, and its pedagogical function <strong>in</strong> education.<br />
› Evaluat<strong>in</strong>g the therapeutic effects of museum object handl<strong>in</strong>g with hospital<br />
patients: A review and <strong>in</strong>itial trial of well-be<strong>in</strong>g measures, Journal of Applied<br />
<strong>Arts</strong> & Health, 2.1, 37-56.
Laura Chess<strong>in</strong><br />
Virg<strong>in</strong>ia Commonwealth University,<br />
325 North Harrison Street, Room 332/<br />
Box 843085, Richmond, Virg<strong>in</strong>ia,<br />
23284-3085, United States of<br />
America<br />
Keywords susta<strong>in</strong>ability,<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary, dialogue<br />
Danielle Child<br />
University of Leeds<br />
Keywords labour, art, education<br />
Lloyd Chilvers<br />
Roehampton University, Media,<br />
Culture and Language, Roehampton<br />
University, Roehampton Lane,<br />
London, SW15 5PU, United K<strong>in</strong>gdom<br />
Keywords economics, market<strong>in</strong>g,<br />
education<br />
Tara Chittenden<br />
The Law Society<br />
Laura Chess<strong>in</strong> is a Professor of Graphic Design at Virg<strong>in</strong>ia<br />
Commonwealth University. She teaches courses <strong>in</strong> publication design<br />
and typography and documentary studies. Projects <strong>in</strong>clude photo<br />
documentation of <strong>in</strong>dustries native to Virg<strong>in</strong>ia, <strong>in</strong>ter-generational<br />
traditions of women <strong>in</strong> the Adirondack Mounta<strong>in</strong>s of New York State,<br />
and a project that address safe shelters from domestic violence. She is a<br />
student of classical viol<strong>in</strong> and plays traditional American fiddle music.<br />
› A closer look at listen<strong>in</strong>g: <strong>in</strong>terdiscipl<strong>in</strong>arity and the varieties of languages<br />
employed <strong>in</strong> the conveyance of problem and solution, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 7.1, 19-29.<br />
Danielle Child is a Ph.D. candidate and teach<strong>in</strong>g assistant <strong>in</strong> the School<br />
of F<strong>in</strong>e Art, History of Art and Cultural Studies, University of Leeds.<br />
She is currently writ<strong>in</strong>g her Ph.D. thesis on ‘Socialised Labour under<br />
Change: Collaboration, Contracted Labour and Collective Modes of<br />
Production <strong>in</strong> Art s<strong>in</strong>ce the 1960s’.<br />
› REVIEWS, Art & the Public Sphere, 1.1, 85-.<br />
Lloyd Chilvers is Academic Learn<strong>in</strong>g Support Assistant for the BA<br />
Media and Culture, BA Journalism and News Media and MA Media,<br />
Culture and Identity programmes at Roehampton University. He is a<br />
graduate of Roehampton’s MA Media and Cultural Studies programme<br />
and has particular <strong>in</strong>terest <strong>in</strong> student support <strong>in</strong> the subject area. Lloyd<br />
tra<strong>in</strong>ed as an economist, and holds a BA Economics from K<strong>in</strong>gston<br />
Polytechnic and an MSc Economics from the London School of<br />
Economics. After a spell with a lead<strong>in</strong>g bus<strong>in</strong>ess <strong>research</strong> consultancy,<br />
he ga<strong>in</strong>ed an MBA from K<strong>in</strong>gston before work<strong>in</strong>g as an <strong>in</strong>dependent<br />
market<strong>in</strong>g <strong>research</strong> consultant and bus<strong>in</strong>ess writer.<br />
› Learn<strong>in</strong>g support: Student perceptions and preferences, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 9.2, 135-149.<br />
Tara Chittenden is a socio-legal <strong>research</strong>er <strong>in</strong> the Research Unit of the<br />
Law Society, London. Her Ph.D., undertaken at the Institute of<br />
Education, University of London, exam<strong>in</strong>ed strategies used to <strong>in</strong>terpret
Keywords teen identity, teen media,<br />
sexuality, art, c<strong>in</strong>ematic languages,<br />
blogs<br />
Isabelle Cho<strong>in</strong>ière<br />
University of Plymouth -U.K., <strong>Arts</strong><br />
and Media, 1441 Cuvillier, Montréal,<br />
Prov<strong>in</strong>ce of Québec, H1W 2Z9,<br />
Canada<br />
Keywords eroticism, performativity,<br />
dance, <strong>in</strong>terconnectivity,<br />
consciousness, spiritual, perception,<br />
somatic, technology, exteroception<br />
Veronique Chossat<br />
Centre de Recherche OMI (E.A.<br />
2065), UFR Sciences Économiques et<br />
Gestion, 57 bis, rue Pierre Taitt<strong>in</strong>ger,<br />
51096 Reims Cedex, France<br />
Keywords creativity, author's right,<br />
copyright, gastronomy, cultural good<br />
the body of a virtual reality mummy displayed at the British Museum.<br />
Prior to her current employment she worked at the British Museum and<br />
at Torquay Museum, Devon. She <strong>in</strong>itially tra<strong>in</strong>ed as a sculptor. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude: practices of <strong>in</strong>terpretation, teen identity, teen<br />
media cultures and media <strong>in</strong>terventions at museums and heritage sites.<br />
› Sex<strong>in</strong>g up the secondary art curriculum: a strategy for discuss<strong>in</strong>g Robert<br />
Mapplethorpe’s photographs of S&M and the black male nude <strong>in</strong> art<br />
classrooms, International Journal of Education through Art, 5.2&3, 157-167.<br />
In spr<strong>in</strong>g 2005, Isabelle Cho<strong>in</strong>ière began a doctorate at the Center for<br />
Advanced Inquiry <strong>in</strong> the Integrative <strong>Arts</strong> (CAiiA) affiliated with<br />
Plymouth University <strong>in</strong> England, under the co-supervision of Roy<br />
Ascott, founder and director of the Planetary Collegium, Enrico Pizotti,<br />
from the department of performance and music at Bologna University,<br />
and Armando M<strong>in</strong>icacci, from the department of dance at the<br />
University Paris VIII. Founder and director of Corps Indice <strong>in</strong><br />
Montreal, Canada (a company work<strong>in</strong>g with the relationship between<br />
dance/performance and technology), Cho<strong>in</strong>ière’s artistic approach<br />
<strong>in</strong>tegrates the <strong>in</strong>terrelationship of discipl<strong>in</strong>es and the question<strong>in</strong>g of<br />
each of their own forms of writ<strong>in</strong>g. Her <strong>research</strong> looks at the ways <strong>in</strong><br />
which the <strong>in</strong>filtration of technological thought <strong>in</strong> the contemporary<br />
performative scene may f<strong>in</strong>d applications <strong>in</strong> the development of new<br />
performative models.<br />
› Eroticism, the sacred and philosophies of modern physics; the body as a<br />
catalyser of mean<strong>in</strong>g, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
4.1, 27-38.<br />
Véronique Chossat is Assistant Professor <strong>in</strong> Economics at the<br />
University of Reims, France. She specializes <strong>in</strong> the cultural economics<br />
field and has published several articles on the gastronomic topic. She<br />
won the President’s Prize of the ACEI (Association for Cultural<br />
Economics International) <strong>in</strong> 2002 for an article analys<strong>in</strong>g the role of<br />
experts <strong>in</strong> the def<strong>in</strong>ition of the gastronomic quality.<br />
› Question<strong>in</strong>g the author's right protection for gastronomic creations:<br />
Opportunities versus possibilities of implementation, Creative Industries<br />
Journal, 2.2, 129-142.
Martha Christopoulou<br />
Keywords Greece, primary, art<br />
education, visual culture<br />
Georgia Kakourou<br />
Chroni<br />
Coumantaros Art Galler, Branch of<br />
the National Gallery, Paleologou and<br />
Thermopylon, Sparta 231 00, 231 00,<br />
Greece<br />
Keywords Greece, Israel, war, peace,<br />
visual communication<br />
Eu J<strong>in</strong> Chua<br />
Unitec Institute of Technology<br />
Keywords<br />
Martha Christopoulou is an art educator work<strong>in</strong>g currently <strong>in</strong> a primary<br />
school <strong>in</strong> Athens, Greece. Her <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> art and visual<br />
(media) culture education, critical pedagogy and reflective practice.<br />
She is <strong>in</strong>terested <strong>in</strong> develop<strong>in</strong>g art/visual culture curricula that could<br />
enable generalist and art teachers to <strong>in</strong>clude and teach about children’s<br />
visual and aesthetic experiences <strong>in</strong> art lessons.<br />
› Introduc<strong>in</strong>g visual culture education <strong>in</strong>to Greek primary schools: a<br />
curriculum <strong>in</strong>tervention, International Journal of Education through Art, 6.1,<br />
97-107.<br />
Georgia Kakourou Chroni is curator of the National Gallery of Greece<br />
and is responsible for the Sparta Branch of the National Gallery, the<br />
‘Coumantaros Art Gallery’. She graduated from the University of<br />
Athens School of Philosophy, is a Doctor of Philosophy from the same<br />
university and she holds a Masters degree <strong>in</strong> Museum Studies from the<br />
University of Leicester. She was awarded a Fulbright Foundation<br />
scholarship. She teaches Museology and Education and Civilization at<br />
the University of the Peloponnese and the Hellenic Open University.<br />
Her ma<strong>in</strong> <strong>research</strong> areas are modern Greek art and museum education.<br />
She is the author of six books and numerous articles.<br />
› Gett<strong>in</strong>g to know one another through draw<strong>in</strong>g, International Journal of<br />
Education through Art, 4.2, 131-139.<br />
Eu J<strong>in</strong> Chua directs the postgraduate programme at the Unitec school<br />
of design and visual arts <strong>in</strong> New Zealand and is also a doctoral student<br />
at the London Consortium, University of London.<br />
› The film-work recomposed <strong>in</strong>to nature: from art to noise <strong>in</strong> four m<strong>in</strong>utes and<br />
thirty-three seconds, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 89-<br />
96.<br />
Wei-Chung Chuo Wei-Chung lives and works <strong>in</strong> London. He has studied Architecture at<br />
the Chaoyang University of Technology and F<strong>in</strong>e Art at Da-Yeh<br />
University, both <strong>in</strong> Taiwan. He recently f<strong>in</strong>ished his MArch<br />
(Architectural Design) at The Bartlett Faculty of the Built
Keywords Environment, University College London.<br />
Matteo Ciastellardi<br />
University of Milan, Via Festa del<br />
Perdono, 7, Milan, 20122, Italy<br />
Keywords tangible media, electronic<br />
marg<strong>in</strong>, bar codes, connected design<br />
Tommaso C<strong>in</strong>ti<br />
Università degli Studi di Siena,<br />
Facoltà di Economia, Piazza S.<br />
Francesco 7, Siena, Italy<br />
Keywords local system governance,<br />
<strong>in</strong>ter-organizational relations,<br />
governance-specific factors, social<br />
network analysis, museums<br />
Gerald Cipriani<br />
Kyushu University<br />
Keywords philosophy of culture,<br />
aesthetics, visual arts, ethical<br />
phenomenology, dialogical studies<br />
East/West, Kyoto School<br />
› Project Profiles, Design Ecologies, 1.2, 307-321.<br />
Matteo Ciastellardi has a Ph.D. <strong>in</strong> Industrial Design and Multimedia<br />
Communication (Polytechnic University of Milan) and a Bachelor’s <strong>in</strong><br />
Theoretical Philosophy (University of Studies of Milan, 2005). He is<br />
Tutor of Media Theory and Criticism (Master <strong>in</strong> Methodology for<br />
Information and Communication <strong>in</strong> Humanistic Science, University of<br />
the Studies of Milano, 2003–2005) and Assistant Professor, University<br />
of Studies of Milano, Hermes_Net Laboratory. He is currently<br />
develop<strong>in</strong>g the projects Universal Marg<strong>in</strong> and The Era of Tag.<br />
› The world as wide web: follow<strong>in</strong>g codes to access knowledge-lands,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2, 173-179.<br />
Tommaso C<strong>in</strong>ti Ph.D., is Lecturer <strong>in</strong> Economics and Management of<br />
Enterprises, Faculty of Economics, University of Siena. He has been a<br />
visit<strong>in</strong>g student at the Université Paris, 1 Sorbonne, and at the<br />
University of Seville. His <strong>research</strong> <strong>in</strong>terests deal with creative<br />
<strong>in</strong>dustries, local development, cultural cluster and districts, <strong>in</strong>novation<br />
and technology transfer.<br />
› Governance-specific Factors and Cultural Clusters: The Case of the Museum<br />
Clusters <strong>in</strong> Florence, Creative Industries Journal, 2.1, 19-35.<br />
Gerald Cipriani is of Corsican Irish orig<strong>in</strong>s. He studied Western<br />
aesthetics with a doctoral scholarship <strong>in</strong> Leeds (LMU) and East Asian<br />
philosophy <strong>in</strong> London (SOAS). Between 1993 and 2009, he taught the<br />
philosophy of culture, aesthetics and art theory <strong>in</strong> Leeds, Birm<strong>in</strong>gham,<br />
Tokyo, and Taipei. He was a Japan Society for the Promotion of<br />
Science award w<strong>in</strong>ner and British Academy Fellow at Kyoto<br />
University <strong>in</strong> 2004-2005. He was a Visit<strong>in</strong>g Scholar at the University<br />
of Hels<strong>in</strong>ki, F<strong>in</strong>land, <strong>in</strong> 2010, <strong>in</strong>vited as a Fellow to Giessen<br />
University, Germany, and has been consultant, editor and reviewer for<br />
several publishers, <strong>in</strong>clud<strong>in</strong>g Routledge, Cont<strong>in</strong>uum, Spr<strong>in</strong>ger,<br />
Lex<strong>in</strong>gton Books and Airiti Press. He now holds a full professorship at
Alissa Clarke<br />
De Montfort University, Department<br />
of Performance and Digital <strong>Arts</strong>,<br />
Faculty of Humanities, Clephan<br />
Build<strong>in</strong>g, Leicester, Leicestershire,<br />
LE1 9BH, United K<strong>in</strong>gdom<br />
Keywords psychophysical, performer<br />
tra<strong>in</strong><strong>in</strong>g, Phillip Zarrilli, Sandra<br />
Reeve, mistakes/failure<br />
James Edward Clayson<br />
American University of Paris, 85, rue<br />
de Mauberge, Paris, 7510, France<br />
Keywords constructionism, liberal<br />
arts, logo, visual th<strong>in</strong>k<strong>in</strong>g, visual<br />
model<strong>in</strong>g<br />
Kyushu University, Japan. He has published widely <strong>in</strong> the fields of<br />
phenomenology, hermeneutics, ethics, education, art studies, dialogical<br />
philosophy, French poststructuralism and the Kyoto School. He is the<br />
found<strong>in</strong>g chief editor of Culture and, with Arto Haapala, of the journal<br />
of philosophy<br />
› Beyond the <strong>in</strong>stitutional site and the ethos of the void: the relevance of<br />
Gabriel Marcel's Creative Fidelity, Journal of Visual Art Practice, 4.2, 167-<br />
176.<br />
Alissa Clarke has recently completed her AHRC-funded Ph.D. <strong>in</strong> the<br />
Department of Drama at the University of Exeter where she has also<br />
been work<strong>in</strong>g as a teach<strong>in</strong>g assistant. Her thesis is entitled ‘Writ<strong>in</strong>g<br />
through the Body: Explor<strong>in</strong>g Embodied Performative Processes of<br />
Writ<strong>in</strong>g About Psychophysical Performer Tra<strong>in</strong><strong>in</strong>gs’. Alissa has been<br />
practis<strong>in</strong>g Phillip Zarrilli’s psychophysical performer tra<strong>in</strong><strong>in</strong>g s<strong>in</strong>ce<br />
2002, and has been <strong>in</strong>volved with Sandra Reeve’s ‘Move <strong>in</strong>to Life’<br />
work s<strong>in</strong>ce 2005. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude: psychophysical<br />
performance and performer tra<strong>in</strong><strong>in</strong>g, fem<strong>in</strong>ist and gender theory and<br />
performance practice, and documentation of performance.<br />
› ‘Advance error by error, with err<strong>in</strong>g steps’: embrac<strong>in</strong>g and explor<strong>in</strong>g<br />
mistakes and failure across the psychophysical performer tra<strong>in</strong><strong>in</strong>g space and<br />
the page1, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.2, 193-208.<br />
James Clayson has been Professor of Applied Mathematics at the<br />
American University of Paris for 25 years. He has also taught at the<br />
Paris campus of Parsons School of Design and co-directed the Lacoste<br />
School of Art <strong>in</strong> the south of France for many years. He discovered<br />
teach<strong>in</strong>g after hav<strong>in</strong>g had a career <strong>in</strong> management consult<strong>in</strong>g and<br />
operational <strong>research</strong> <strong>in</strong> California. He is <strong>in</strong>terested <strong>in</strong> develop<strong>in</strong>g<br />
undergraduate courses that <strong>in</strong>tegrate visual th<strong>in</strong>k<strong>in</strong>g, computer<br />
explorations, public speak<strong>in</strong>g and journal writ<strong>in</strong>g <strong>in</strong>to traditional<br />
mathematics courses. In addition he is an advocate of George Kelly’s<br />
Personal Construct Psychology and uses constructionist approaches to<br />
build a common language and learn<strong>in</strong>g community with<strong>in</strong> his<br />
classroom. The shared build<strong>in</strong>g experience is especially mean<strong>in</strong>gful<br />
where students come from more than 100 different countries, speak a<br />
great number of languages and have passed through many different<br />
k<strong>in</strong>ds of educational <strong>in</strong>stitutions.
Paul Clements<br />
Keywords cultural <strong>in</strong>termediary,<br />
hegemony, <strong>in</strong>strumentalism,<br />
legitimacy, public sphere<br />
Teena Clerke<br />
University of Technology, Faculty of<br />
<strong>Arts</strong> and Social Sciences, P.O. Box<br />
1090 Strawberry Hills, Sydney, New<br />
South Wales, 2010, Australia<br />
Keywords gender, practice,<br />
publication, design, women<br />
Antonia Clews<br />
Bath Spa University, Newton Park,<br />
Newton St Loe, Bath, BA2 9BN,<br />
United K<strong>in</strong>gdom<br />
Keywords education, arts, visual<br />
media, <strong>research</strong> and development<br />
› Radical bricolage: build<strong>in</strong>g coherence <strong>in</strong> the liberal arts us<strong>in</strong>g art modell<strong>in</strong>g<br />
and language, International Journal of Education through Art, 4.2, 141-161.<br />
Paul Clements has worked with excluded constituencies <strong>in</strong> a cultural<br />
capacity for over twenty years. He has written about social/cultural<br />
exclusion, community and public art as well as wider cultural issues <strong>in</strong><br />
academic journals and lectures part-time at Goldsmiths College<br />
University of London, for the Open University and as a visit<strong>in</strong>g lecturer<br />
at London Metropolita<strong>in</strong> University.<br />
› Public art: radical, functional or democratic methodologies?, Journal of<br />
Visual Art Practice, 7.1, 19-35.<br />
Teena Clerke has worked as a Graphic designer s<strong>in</strong>ce 1987, focus<strong>in</strong>g<br />
on community cultural development and design for social change. She<br />
has participated <strong>in</strong> solo and group art exhibitions, and has work<br />
represented <strong>in</strong> private collections <strong>in</strong> Australia and <strong>in</strong>ternationally.<br />
Clerke has lectured <strong>in</strong> design s<strong>in</strong>ce 1994, currently lectures <strong>in</strong> design at<br />
the University of Sydney, and is a doctoral <strong>in</strong>tern at the University of<br />
Technology, Sydney, lectur<strong>in</strong>g <strong>in</strong> adult education. Her doctoral<br />
<strong>research</strong> <strong>in</strong>vestigates the experiences of women design academics, and<br />
she has published <strong>in</strong> the areas of design education, doctoral education,<br />
fem<strong>in</strong>ist qualitative <strong>research</strong> writ<strong>in</strong>g and cultural studies.<br />
› Gender and discipl<strong>in</strong>e: publication practices <strong>in</strong> design, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 3.1, 63-78.<br />
Antonia Clews is an educational <strong>research</strong>er and developer. She works<br />
at <strong>Arts</strong>work, the Centre for Teach<strong>in</strong>g and Learn<strong>in</strong>g <strong>in</strong> the Creative<br />
Industries (CETL) and the Centre for Learn<strong>in</strong>g and Teach<strong>in</strong>g<br />
Development, at Bath Spa University. She uses participatory and<br />
visual techniques to <strong>in</strong>form policy on arts education.<br />
› And I also teach: The professional development of teach<strong>in</strong>g creatives,<br />
Journal of <strong>Arts</strong> & Communities, 1.3, 265-278.
Sheila Cliffe<br />
Jumonji Gakuen Women's University,<br />
Saitama, Japan<br />
Keywords Internet, globalization,<br />
orientalism, fashion, kimono<br />
Stephen Clift<br />
Canterbury Christ Church University,<br />
Sidney De Haan Research Centre for<br />
<strong>Arts</strong> & Health, University Centre<br />
Folkestone, Mill Bay, Folkestone,<br />
CT20 1JG, United K<strong>in</strong>gdom<br />
Keywords older people, health, group<br />
s<strong>in</strong>g<strong>in</strong>g,<br />
Nick Clifton<br />
University of Wales Institute Cardiff<br />
(UWIC), Cardiff School of<br />
Management, CSM Build<strong>in</strong>g,<br />
Western Avenue, Llandaff, Cardiff,<br />
CF5 2YB, United K<strong>in</strong>gdom<br />
Keywords knowledge economy,<br />
location, economy outcomes, creative<br />
regions, <strong>research</strong> network, Regional<br />
Studies Association<br />
Sheila Cliffe is a graduate of Temple University of Japan and teaches<br />
English, and kimono and fashion at Jumonji Gakuen Women’s<br />
University <strong>in</strong> Japan. She is an avid kimono collector as well as a<br />
<strong>research</strong>er and dyer of kimono. She is work<strong>in</strong>g towards a Ph.D. on this<br />
topic at the University of Leeds. She lives <strong>in</strong> Tokyo with her three<br />
children.<br />
› Revision<strong>in</strong>g the kimono, Critical Studies <strong>in</strong> Fashion & Beauty, 1.2, 217-231.<br />
Stephen Clift is Professor of Health Education with<strong>in</strong> the department of<br />
Health, Wellbe<strong>in</strong>g and the Family at Canterbury Christ Church<br />
University. He has made contributions to health education and<br />
promotion <strong>in</strong> the fields of HIV/AIDS and sex education for young<br />
people, <strong>in</strong>ternational travel and tourism, and evaluation of the Health<br />
Promot<strong>in</strong>g School. His current <strong>in</strong>terests are focused on the<br />
contributions of the arts and music to healthcare and health promotion.<br />
Together with Grenville Hancox, Professor of Music at Christ Church<br />
University, he has recently established the Sidney De Haan Research<br />
Centre for <strong>Arts</strong> and Health.<br />
› Choral s<strong>in</strong>g<strong>in</strong>g and psychological wellbe<strong>in</strong>g: Quantitative and qualitative<br />
f<strong>in</strong>d<strong>in</strong>gs from English choirs <strong>in</strong> a cross-national survey, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.1, 19-34.<br />
› The Silver Song Club Project: A sense of well-be<strong>in</strong>g through participatory<br />
s<strong>in</strong>g<strong>in</strong>g, Journal of Applied <strong>Arts</strong> & Health, 1.2, 165-178.<br />
Nick Clifton is a Reader <strong>in</strong> Economic Geography and Regional<br />
Development at the Cardiff School of Management, UWIC. Nick’s<br />
ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> the fields of regional economics, small<br />
bus<strong>in</strong>ess and entrepreneurship, networks, bus<strong>in</strong>ess strategy, <strong>in</strong>novation<br />
and creativity.<br />
› Creative knowledge workers and location <strong>in</strong> Europe and North America: a<br />
comparative review, Creative Industries Journal, 2.1, 73-89.<br />
› Second sem<strong>in</strong>ar of the Regional Studies Association Research Network on<br />
Creative Industries and the Regions – Creative <strong>in</strong>dustries, scenes, cities,<br />
places: idiosyncratic dimensions of the cultural economy, April 2009,<br />
Cardiff, Creative Industries Journal, 2.1, 113-115.<br />
› Location, location, location: explor<strong>in</strong>g the complex relationship between<br />
creative <strong>in</strong>dustries and place, Creative Industries Journal, 3.1, 5-10.
Jane Coad<br />
The University of the West of<br />
England, The Centre for Child and<br />
Adolescent Health, Frenchay<br />
Campus, Coldharbour Lane, Bristol,<br />
United K<strong>in</strong>gdom<br />
Keywords health, social care, genetic<br />
<strong>in</strong>formation, photography, young<br />
people<br />
Rebecca Coates<br />
Keywords curator, writer, lecturer<br />
Emma Cocker<br />
Nott<strong>in</strong>gham Trent University, Visual<br />
<strong>Arts</strong> (F<strong>in</strong>e Art), Bon<strong>in</strong>gton Build<strong>in</strong>g,<br />
Dryden Street, Nott<strong>in</strong>gham, NG1<br />
4GG, United K<strong>in</strong>gdom<br />
Keywords wander<strong>in</strong>g, failure,<br />
performance, stillness, rehearsal<br />
Jane Coad is a Senior Research Fellow (Post Doctoral) <strong>in</strong> The Centre<br />
for Child and Adolescent Health, The University of the West of<br />
England and Honorary Senior Research Fellow <strong>in</strong> a DH funded project<br />
known as FamilyTalk; (Communicat<strong>in</strong>g Genetic Information across<br />
Families) at The University of Birm<strong>in</strong>gham. Jane undertakes<br />
participatory <strong>research</strong> with children and young people <strong>in</strong> a variety of<br />
health and social care sett<strong>in</strong>gs us<strong>in</strong>g a range of qualitative <strong>research</strong><br />
methods both locally <strong>in</strong> Bristol and Birm<strong>in</strong>gham but also nationally.<br />
Her current <strong>research</strong> projects <strong>in</strong>clude engag<strong>in</strong>g children and families <strong>in</strong><br />
<strong>research</strong> around communicat<strong>in</strong>g genetic <strong>in</strong>formation; us<strong>in</strong>g<br />
photography to explore young people’s perceptions of health and lives,<br />
memories of paediatric <strong>in</strong>tensive care unit and the effects of early arts<br />
on young children’s health and development.<br />
› REVIEWS, Journal of Applied <strong>Arts</strong> & Health, 2.1, 93-101.<br />
Rebecca Coates is a Melbourne-based <strong>in</strong>dependent curator, writer and<br />
lecturer. She is Associate Curator at the Australian Centre for<br />
Contemporary Art and is a Ph.D. candidate at the University of<br />
Melbourne.<br />
› REVIEWS, Art & the Public Sphere, 1.1, 85-.<br />
Emma Cocker is a writer based <strong>in</strong> Sheffield and Senior Lecturer <strong>in</strong> F<strong>in</strong>e<br />
Art at Nott<strong>in</strong>gham Trent University. Operat<strong>in</strong>g under the title ‘Not Yet<br />
There’, her writ<strong>in</strong>g and <strong>research</strong> (often developed dialogically through<br />
conversations with other artists) <strong>in</strong>terrogates the critical and creative<br />
potential with<strong>in</strong> experiences or conditions such as failure, doubt,<br />
deferral, uncerta<strong>in</strong>ty, boredom, hesitation, <strong>in</strong>decision, immobility and<br />
<strong>in</strong>consistency, by explor<strong>in</strong>g models of practice - and subjectivity -<br />
which resist or refuse the pressure of a s<strong>in</strong>gle or stable position by<br />
rema<strong>in</strong><strong>in</strong>g willfully unresolved. Cocker has written essays for various<br />
exhibition catalogues, publications and journals <strong>in</strong>clud<strong>in</strong>g The Art<br />
Book, a-n, Frieze, dra<strong>in</strong>, Dance Theatre Journal, engage, m/c, Journal<br />
of Writ<strong>in</strong>g <strong>in</strong> Creative Practice and artand<strong>research</strong>. Recent book<br />
chapters <strong>in</strong>clude Perform<strong>in</strong>g Stillness – Community <strong>in</strong> Wait<strong>in</strong>g’, <strong>in</strong><br />
Stillness <strong>in</strong> a Mobile World (Routledge, 2011),‘The Restless L<strong>in</strong>e,<br />
Draw<strong>in</strong>g’Hyperdraw<strong>in</strong>g: Beyond the L<strong>in</strong>es of Contemporary Art
Monika Codourey<br />
Keywords society and technology,<br />
surveillance, biometrics, cross-border<br />
circulation, deterritorialization<br />
Marjorie Cohee Manifold<br />
Indiana University, Bloom<strong>in</strong>gton,<br />
Curriculum & Instruction, 201 N.<br />
Rose Avenue, Bloom<strong>in</strong>gton, Indiana,<br />
47403, United States of America<br />
Keywords adolescents, cultural<br />
communities, craft, fan art, media<br />
culture<br />
Neil Cohn<br />
Psychology Department, Tufts<br />
University, 490 Boston Avenue,<br />
Medford,, MA 02155, United States<br />
of America<br />
› Pay attention to the footnotes, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.2,<br />
139-150.<br />
Monika Codourey is an architect. In 2006 she founded Monika<br />
Codourey Architekt, a Zurich-based studio for architectural and<br />
communication design, strategies, conceptual projects and <strong>research</strong>.<br />
With an <strong>in</strong>ternational network of collaborators, the studio is <strong>in</strong>volved <strong>in</strong><br />
architectural design and realisation, media <strong>in</strong>stallations, communication<br />
design, strategic plann<strong>in</strong>g and consult<strong>in</strong>g. She is also a <strong>research</strong>er at the<br />
Zurich Node of the Planetary Collegium.<br />
› Mobile identities, technology and the socio-spatial relations of air travel,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.1, 99-111.<br />
Marjorie Cohee Manifold is Associate Professor of Art Education <strong>in</strong><br />
the Curriculum and Instruction Department, School of Education,<br />
Indiana University. Her responsibilities <strong>in</strong>clude teach<strong>in</strong>g art methods<br />
courses <strong>in</strong> the art teacher certification program, present<strong>in</strong>g professional<br />
development workshops for pre-service and <strong>in</strong>-service K-12 teachers,<br />
<strong>in</strong>struct<strong>in</strong>g graduate sem<strong>in</strong>ars <strong>in</strong> art education, and direct<strong>in</strong>g graduate<br />
thesis and dissertations. Professor Manifold is currently President of<br />
the United States Society for Education Through Art (USSEA) and a<br />
North American World Councilor to the International Society for<br />
Education Through Art (InSEA) an affiliate organization of UNESCO.<br />
Members of USSEA and InSEA advocate forms of education that<br />
nurture life-affirm<strong>in</strong>g imag<strong>in</strong>ation, creativity, tolerance, appreciation<br />
and respect among all people.<br />
› Fanart as craft and the creation of culture, International Journal of Education<br />
through Art, 5.1, 7-21.<br />
Neil Cohn <strong>research</strong>es the relationship of graphic expression –<br />
particularly the visual language used <strong>in</strong> ‘comics’ – with language and<br />
cognition. He has spoken on this topic <strong>in</strong>ternationally, and has authored<br />
numerous articles and a book, Early Writ<strong>in</strong>gs on Visual Language<br />
(Emaki Productions, 2003). As an illustrator, his graphic book (with<br />
author Thom Hartmann) We the People: A Call to Take Back America
Keywords visual language, panels,<br />
time, temporal map<br />
Paul Coldwell<br />
Keywords practice-based <strong>research</strong>,<br />
f<strong>in</strong>e art<br />
Miia Collanus<br />
University of Hels<strong>in</strong>ki, Department of<br />
Teacher Education, University of<br />
Hels<strong>in</strong>ki, P.O.Box 8<br />
(Siltavuorenpenger 10) FI-00014,<br />
University of Hels<strong>in</strong>ki, Hels<strong>in</strong>ki,<br />
F<strong>in</strong>land<br />
Keywords<br />
(CoreWay Media, 2004), addresses the pervasive <strong>in</strong>fluence of<br />
corporations on American government. Neil is currently a graduate<br />
student <strong>in</strong> psychology at Tufts University, where he has taught courses<br />
on the relationship of comics to language and the m<strong>in</strong>d. He received a<br />
BA <strong>in</strong> Asian Studies from the University of California, Berkeley,<br />
studied <strong>in</strong> Japan at Tsuru University, and holds an MA <strong>in</strong> social science<br />
from the University of Chicago. His work can be found onl<strong>in</strong>e at<br />
www.emaki.net.<br />
› The limits of time and transitions: challenges to theories of sequential image<br />
comprehension, Studies <strong>in</strong> Comics, 1.1, 127-147.<br />
Paul Coldwell is Professor of F<strong>in</strong>e Art at the University of the <strong>Arts</strong><br />
London, a position he has held s<strong>in</strong>ce 2001. He contributes to the<br />
Graduate School programme at CCW (Camberwell, Chelsea,<br />
Wimbledon) and is also engaged <strong>in</strong> Ph.D. supervision, particularly <strong>in</strong><br />
the area of practice-based <strong>research</strong>. He has taught <strong>in</strong> many colleges<br />
both <strong>in</strong> the United K<strong>in</strong>gdom and abroad, was appo<strong>in</strong>ted visit<strong>in</strong>g<br />
Professor at the University of Northampton (2006-09), was guest<br />
Professor at the Ch<strong>in</strong>ese University, Hong Kong and Guest Artist at<br />
The Art Institute of Chicago <strong>in</strong> 2010. He is a member of the AHRC<br />
Peer Review College and on the editorial board of the journal Pr<strong>in</strong>t<br />
Quarterly. He will be chair<strong>in</strong>g the panel Series & Sequence: The F<strong>in</strong>e<br />
Art Pr<strong>in</strong>t Folio and Artist’s Book as sites of Inquiry at CAA conference<br />
New York 2011 and is a<br />
› Tate Modern – an open<strong>in</strong>g for pr<strong>in</strong>tmak<strong>in</strong>g?, Journal of Visual Art Practice,<br />
1.1, 46-55.<br />
Miia Collanus, M.Ed., Department of Teacher Education, Section of<br />
Craft Science and Textiles Teacher Education, lecturer <strong>in</strong> Pedagogy.<br />
› The identities of an arts educator: Compar<strong>in</strong>g discourses <strong>in</strong> three teacher<br />
education programmes <strong>in</strong> F<strong>in</strong>land, International Journal of Education<br />
through Art, 8.1, 7-21.
Alan Coll<strong>in</strong>s<br />
University of Portsmouth, Department<br />
of Economics, Richmond Build<strong>in</strong>g,<br />
Portland Street, Portsmouth, PO1<br />
3DE, United K<strong>in</strong>gdom<br />
Keywords creative <strong>in</strong>dustries policy,<br />
bureaucracy, public choice, evidencebased<br />
policy, creative Brita<strong>in</strong><br />
Roberta Comunian<br />
University of Kent, School of <strong>Arts</strong>,<br />
Eliot College, Room W3S.5,<br />
Canterbury, Kent, CT2 7NS, United<br />
K<strong>in</strong>gdom<br />
Keywords creative <strong>in</strong>dustries, local<br />
economic development, public<br />
support, creative work, culture-led<br />
regeneration<br />
Juan Carlos Pacheco<br />
Contreras<br />
Pontificia Universidad Javeriana,<br />
Carrera 7 No. 40-62, Bogota, 110231,<br />
Colombia<br />
Keywords socio-ecological systems,<br />
perseverance, rural communities,<br />
adaptive capacity, crafts<br />
Alan is Professor of Economics and Head of the Department of<br />
Economics at the University of Portsmouth. His teach<strong>in</strong>g <strong>in</strong>terests<br />
<strong>in</strong>clude Environmental Economics and Policy, Managerial Economics,<br />
Social Economics, Transport Economics, and Cultural Economics.<br />
Alan is an active <strong>research</strong>er <strong>in</strong> a number of fields, the most significant<br />
of which are environmental and natural resource economics, transport<br />
economics, and social and cultural economics. He is also on the<br />
executive board of the Association of Cultural Economics International<br />
(ACEI).<br />
› Innovativeness, creativity and public policy: anecdotes, conventional<br />
wisdoms and evidence, Creative Industries Journal, 2.3, 247-257.<br />
Roberta Comunian is Lecturer <strong>in</strong> Human Geography at the University<br />
of Southampton. She holds a European Doctorate title <strong>in</strong> Network<br />
Economy and Knowledge Management. She is <strong>in</strong>terested <strong>in</strong> the role of<br />
culture <strong>in</strong> urban development and creative <strong>in</strong>dustries, creativity and<br />
competitiveness. She manages the Regional Studies Association<br />
Network on ‘Creative Industries and the Regions’ (<strong>in</strong> collaboration with<br />
C. Chapa<strong>in</strong> and N. Clifton): more <strong>in</strong>formation available at<br />
www.creative-regions.org.uk.<br />
› Question<strong>in</strong>g creative work as driver of economic development: the case of<br />
Newcastle-Gateshead, Creative Industries Journal, 2.1, 57-71.<br />
› Location, location, location: explor<strong>in</strong>g the complex relationship between<br />
creative <strong>in</strong>dustries and place, Creative Industries Journal, 3.1, 5-10.<br />
Contreras is an <strong>in</strong>dustrial designer with a master’s <strong>in</strong> Environmental<br />
Management. He is Assistant Professor <strong>in</strong> the Department of Design,<br />
and Coord<strong>in</strong>ator of the Environmental Area at the Pontificia<br />
Universidad Javeriana, Colombia, South America. At present he is<br />
pursu<strong>in</strong>g a Ph.D. <strong>in</strong> environmental and rural studies. His <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude craft production, eco-technological models, local<br />
development and strategies of livelihood.<br />
› The adaptive capacity of rural crafts <strong>in</strong> the face of global challenges, Craft<br />
Research, 1.1, 101-112.
Phil Cooke<br />
Cardiff University, Centre for<br />
Advanced Studies <strong>in</strong> Social Sciences,<br />
45 Park Place, Cardiff, CF10 3BB,<br />
United K<strong>in</strong>gdom<br />
Keywords creativity, knowledge<br />
economy, location, economy<br />
outcomes<br />
Kerrie Corcoran<br />
Keywords visual art, pedagogical<br />
reason<strong>in</strong>g, cooperative learn<strong>in</strong>g,<br />
creativity, knowledge-<strong>in</strong>-action<br />
Rikke Platz Cortsen<br />
University of Copenhagen,<br />
Department of <strong>Arts</strong> and Cultural<br />
Studies, University of Copenhagen,<br />
Karen Blixens vej 1, 2300<br />
Copenhagen S, Denmark<br />
Keywords comics, time and space,<br />
apocalyptic moment<br />
Phil Cooke is Research Professor <strong>in</strong> Regional Economic Development,<br />
and found<strong>in</strong>g Director (1993) of the Centre for Advanced Studies,<br />
Cardiff University. His <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> studies of<br />
biotechnology, regional <strong>in</strong>novation systems, knowledge economies,<br />
entrepreneurship, clusters and networks.<br />
› Creative knowledge workers and location <strong>in</strong> Europe and North America: a<br />
comparative review, Creative Industries Journal, 2.1, 73-89.<br />
Kerrie Corcoran is Director of Senior Secondary Studies at Cannon<br />
Hill Anglican College <strong>in</strong> Brisbane, Queensland, Australia. She has 28<br />
years experience teach<strong>in</strong>g Visual Art <strong>in</strong> both s<strong>in</strong>gle sex and coeducational<br />
schools <strong>in</strong> the private and government sector. Kerrie was<br />
awarded her Ph.D. at Griffith University <strong>in</strong> 2006. She has a strong<br />
commitment to curriculum development and effective pedagogy <strong>in</strong> the<br />
Visual <strong>Arts</strong>, and her <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> develop<strong>in</strong>g the creative<br />
abilities of Visual <strong>Arts</strong> secondary students.<br />
› Pedagogical reason<strong>in</strong>g, creativity and cooperative learn<strong>in</strong>g <strong>in</strong> the visual art<br />
classroom, International Journal of Education through Art, 5.1, 51-61.<br />
Rikke Platz Cortsen is a Ph.D. student <strong>in</strong> the University of<br />
Copenhagen’s Department of <strong>Arts</strong> and Cultural Studies work<strong>in</strong>g on a<br />
project concern<strong>in</strong>g time and space <strong>in</strong> comics. Her MA thesis was titled<br />
‘Simultaneity, Moment, Eternity – on the Construction of Time and<br />
Space <strong>in</strong> Comics by Alan Moore’. She has presented papers about<br />
comics at various conferences, <strong>in</strong>clud<strong>in</strong>g a paper on comics written by<br />
Alan Moore and their use of an apocalyptic moment. She is on the<br />
editorial boards of the Scand<strong>in</strong>avian Journal of Comic Art, the Danish<br />
comics magaz<strong>in</strong>e STRIP!.<br />
› Multiple liv<strong>in</strong>g, one world?: On the chronotope <strong>in</strong> Alan Moore and Gene<br />
Ha’s Top 10, Studies <strong>in</strong> Comics, 2.1, 135-145.<br />
Graham Coulter-Smith Graham Coulter-Smith is the author of Deconstruct<strong>in</strong>g Installation art<br />
and The Postmodern Art of Imants Tillers and co-editor of Art <strong>in</strong> the
Staffordshire University, Flaxman<br />
Build<strong>in</strong>g, College Road, Stoke-on-<br />
Trent, ST4 2DE, United K<strong>in</strong>gdom<br />
Keywords art <strong>in</strong>to life, creativity,<br />
<strong>in</strong>stallation art, <strong>in</strong>teractive art,<br />
relational aesthetics evolution<br />
Solange Cout<strong>in</strong>ho<br />
Federal University of Pernambuco,<br />
Av. Professor Moraes Rego, 1235,<br />
Recife-PE, 50670-901, Brazil<br />
Keywords draw<strong>in</strong>g process, graphic<br />
components, trans-cultural<br />
commonalities, cognition<br />
Glen Coutts<br />
University of Lapland<br />
Keywords art education, applied<br />
visual art, art and design education,<br />
community art<br />
Age of Terrorism and The Visual-Narrative Matrix. He is a <strong>research</strong><br />
fellow at Southampton Solent University work<strong>in</strong>g on the VisuoSonic<br />
project (www.visuosonic.org) and senior lecturer <strong>in</strong> Art Theory at<br />
Staffordshire University. His <strong>in</strong>terests lie <strong>in</strong> the fields of contemporary<br />
f<strong>in</strong>e art and media art.<br />
› Art games: Interactivity and the embodied gaze, Technoetic <strong>Arts</strong>: A Journal<br />
of Speculative Research, 4.3, 169-182.<br />
› Evolutionary aesthetics: reth<strong>in</strong>k<strong>in</strong>g the role of function <strong>in</strong> art and design,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.1, 85-91.<br />
Solange Cout<strong>in</strong>ho is a Research Professor <strong>in</strong> the Design Department of<br />
the Federal University of Pernambuco <strong>who</strong>se ma<strong>in</strong> <strong>in</strong>terest is<br />
<strong>in</strong>formation design and education. She has a Ph.D. (1998) from the<br />
Department of Typography and Graphic Communication, University of<br />
Read<strong>in</strong>g, United K<strong>in</strong>gdom. She is <strong>in</strong> charge of the Information Design<br />
Research Group <strong>in</strong> Brazil and is an associated <strong>research</strong>er of the Centre<br />
de Recherche Images, Cultures et Cognitions (Panthéon-Sorbonne<br />
Paris 1).<br />
› Children's processes of draw<strong>in</strong>g from memory: a trans-cultural study <strong>in</strong><br />
France and Brazil, International Journal of Education through Art, 4.1, 57-<br />
73.<br />
› Editorial, International Journal of Education through Art, 6.2, 123-125.<br />
› Editorial, International Journal of Education through Art, 6.3, 275-277.<br />
› Editorial, International Journal of Education through Art, 7.1, 3-5.<br />
› EDITORIAL, International Journal of Education through Art, 7.2, 107-109.<br />
› EDITORIAL, International Journal of Education through Art, 8.1, 3-6.<br />
Rob Cowdroy Rob Cowdroy is a conjo<strong>in</strong>t <strong>research</strong> professor. His teach<strong>in</strong>g experience<br />
has been centred on architectural design and he played a major role <strong>in</strong><br />
both organizational development and curriculum development for the
Keywords assessment, creativity,<br />
quality assurance, th<strong>in</strong>k<strong>in</strong>g<br />
Donna J. Cox<br />
Keywords metaphor, mapp<strong>in</strong>g,<br />
astrophysics, virtual reality, postcolonial<br />
M. James C. Crabbe<br />
University of Bedfordshire, Faculty of<br />
Creative <strong>Arts</strong>, Technologies and<br />
Science, Park Square, Luton, LU1<br />
3JU, United K<strong>in</strong>gdom<br />
Keywords media, <strong>in</strong>terdiscipl<strong>in</strong>arity,<br />
cross-cultural, ceramics<br />
<strong>in</strong>novative and <strong>in</strong>ternationally acclaimed problem-based, <strong>in</strong>tegrated and<br />
<strong>research</strong>-based learn<strong>in</strong>g approaches <strong>in</strong> the B.Arch. programme at the<br />
University of Newcastle, Australia, for which he earned the<br />
University’s Teach<strong>in</strong>g Excellence Award. Cowdroy’s basic <strong>research</strong><br />
focus is on the psychological processes of <strong>in</strong>spiration and related forms<br />
of high-level creativity and elite decision processes. For this <strong>research</strong><br />
he developed empirical methods from psychology and psychiatry for<br />
track<strong>in</strong>g unconscious th<strong>in</strong>k<strong>in</strong>g and <strong>in</strong>spiration which are central to<br />
high-level creativity. His applied <strong>research</strong> is <strong>in</strong> new approaches to<br />
assessment of high-level creativity and decision-mak<strong>in</strong>g and the<br />
particular case of the ‘brilliant student’ <strong>in</strong> higher education.<br />
› Assess<strong>in</strong>g creativity <strong>in</strong> the creative arts, Art, Design & Communication <strong>in</strong><br />
Higher Education, 5.2, 97-118.<br />
Donna J. Cox is a recognized pioneer <strong>in</strong> computer art and scientific<br />
visualization. S<strong>in</strong>ce 1985, she has been a professor <strong>in</strong> the School of Art<br />
and Design and <strong>research</strong> artist/scientist at the National Centre for<br />
Supercomput<strong>in</strong>g Applications (NCSA). Her collaborative works have<br />
been featured <strong>in</strong> art and science museums, PBS television productions,<br />
planetaria, and IMAX theatres around the world, and she has authored<br />
many papers on scientific visualization, critical theory, and <strong>in</strong>formation<br />
design.<br />
› The Art and Science of Visualization: Metaphorical Maps and Cultural<br />
Models, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 2.2, 71-80.<br />
Professor M. James C. Crabbe is Executive Dean of the Faculty of<br />
Creative <strong>Arts</strong>, Technologies and Science at the University of<br />
Bedfordshire. He is also a Supernumerary Fellow of Wolfson College,<br />
Oxford University, and Visit<strong>in</strong>g Professor at the University of Read<strong>in</strong>g,<br />
at Beij<strong>in</strong>g Normal University (BNU) and at the International Bus<strong>in</strong>ess<br />
Faculty of BNU <strong>in</strong> Zhuhai <strong>in</strong> Ch<strong>in</strong>a. He is a member of <strong>Arts</strong> Interl<strong>in</strong>k,<br />
the <strong>in</strong>ternational arts management consultancy, and <strong>in</strong> 2008 was a<br />
w<strong>in</strong>ner of a Great Contributors to Ch<strong>in</strong>a Creative Industries Award.<br />
› L<strong>in</strong>k<strong>in</strong>g the ceramic <strong>in</strong>dustry, creativity and education <strong>in</strong> J<strong>in</strong>gdezhen, Ch<strong>in</strong>a:<br />
Given at the First British Ceramics Biennial Conference Artists <strong>in</strong>to Industry<br />
at the Wedgwood Museum <strong>in</strong> Stoke-on-Trent, October 2009, Creative<br />
Industries Journal, 2.3, 305-311.
Diana Crane<br />
University of Pennsylvania<br />
Keywords<br />
Ben Cranfield<br />
Department of Media and Cultural<br />
Studies<br />
Keywords<br />
Bridget Crone<br />
Keywords contemporary art,<br />
performance, mov<strong>in</strong>g image, film and<br />
video, image, affect, disaffect,<br />
representation, participation,<br />
theatricality, subject, presence, body<br />
Jacques Rancière, Gilles Deleuze,<br />
Ala<strong>in</strong> Badiou<br />
Joanna Crotch<br />
Mack<strong>in</strong>tosh School of Architecture,<br />
167 Renfrew Street, Glasgow, United<br />
K<strong>in</strong>gdom<br />
Diana Crane is the author of several books on the sociology of culture,<br />
<strong>in</strong>clud<strong>in</strong>g Fashion and Its Social Agendas: Class, Gender and Identity<br />
<strong>in</strong> Cloth<strong>in</strong>g (University of Chicago Press, 2000).<br />
› BOOK REVIEWS, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 237-247.<br />
Ben Cranfield is Director of Programs <strong>in</strong> <strong>Arts</strong> Policy and Management<br />
<strong>in</strong> the Department of Media and Cultural Studies, Birkbeck. He is also<br />
a co-director of Birkbeck's Centre for Media, Culture and Creative<br />
Practice and <strong>in</strong> 2010 was lead supervisor of a 'Knowledge Transfer<br />
Partnership' project exam<strong>in</strong><strong>in</strong>g understand<strong>in</strong>gs of 'creativity' <strong>in</strong> the arts<br />
and education. He organized the 2008/09 discussions on curat<strong>in</strong>g at the<br />
Institute of Contemporary <strong>Arts</strong> (ICA), London, and was contribut<strong>in</strong>g<br />
editor to its 60th anniversary publication How Soon is Now (2008). His<br />
doctoral thesis explored the relationship between anarchy and<br />
technology at the ICA (1947-69).<br />
› Between Consensus and Anxiety: Curat<strong>in</strong>g Transparency at the ICA of the<br />
1950s, Journal of Curatorial Studies, 1.1, 83-100.<br />
› The Image: Disaffect <strong>in</strong> the theatre of representation, Journal of Visual Art<br />
Practice, 9.2, 123-138.<br />
› Round table discussion: The affects of the abstract image <strong>in</strong> film and video<br />
art, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 79-87.<br />
Joanna Crotch teaches full time at the Mack<strong>in</strong>tosh School of<br />
Architecture. She is also <strong>in</strong>volved <strong>in</strong> ga<strong>in</strong><strong>in</strong>g Postgraduate Certificate <strong>in</strong><br />
Learn<strong>in</strong>g and Teach<strong>in</strong>g <strong>in</strong> Art, Design and Education. Her desire for an<br />
improved review system has been fuelled from a theoretical standpo<strong>in</strong>t<br />
ga<strong>in</strong>ed through her practice, teach<strong>in</strong>g and <strong>research</strong>. Follow<strong>in</strong>g a<br />
successful bid for fund<strong>in</strong>g through the Glasgow School of Art Learn<strong>in</strong>g
Keywords architecture, crit, critical<br />
distance, critical review, design studio<br />
Christopher Crouch<br />
Edith Cowan University, School of<br />
Communications and <strong>Arts</strong>, 100<br />
Joondalup Drive, Joondalup, Western<br />
Australia, 6027, Australia<br />
Keywords reflexivity, validity<br />
claims, visual art, design, <strong>research</strong><br />
methods, creative arts, Ch<strong>in</strong>ese visual<br />
culture, Ch<strong>in</strong>ese traditional culture<br />
Andrea Cruciani<br />
Keywords tangible media, electronic<br />
marg<strong>in</strong>, bar codes, connected design,<br />
Sean Cubitt<br />
University of Southampton,<br />
W<strong>in</strong>chester School of Art, Park<br />
Avenue, W<strong>in</strong>chester SO23 8DL,<br />
United K<strong>in</strong>gdom<br />
and Teach<strong>in</strong>g opportunity, her <strong>research</strong> has been recognized and<br />
supported by the Mack<strong>in</strong>tosh School.<br />
› Mutual respect: work<strong>in</strong>g towards a modern review model, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 5.2, 145-152.<br />
Christopher Crouch has written widely on the ethical responsibility of<br />
practitioner <strong>in</strong> art and design. He lectures on Cultural Theory at Edith<br />
Cowan University <strong>in</strong> Perth, Australia. He is also Vist<strong>in</strong>g Professor <strong>in</strong><br />
F<strong>in</strong>e Art at Beij<strong>in</strong>g National University, Beij<strong>in</strong>g, and Professor <strong>in</strong><br />
Visual Art Huang He University <strong>in</strong> Zhengzhou <strong>in</strong> the Peoples’<br />
Republic of Ch<strong>in</strong>a. His paper presented at the 2003 Unesco Conference<br />
on Intercultural Education was awarded ‘outstand<strong>in</strong>g presentation’. His<br />
book Modernism <strong>in</strong> Art, Design and Architecture is a standard art<br />
school text.<br />
› Praxis and the reflexive creative practitioner, Journal of Visual Art Practice,<br />
6.2, 105-114.<br />
Andrea Cruciani has a Master <strong>in</strong> Interactive Digital Television (IDTV)<br />
and a Bachelor’s <strong>in</strong> Digital Communication (thesis ‘Graphic Chemistry.<br />
The Three-D representation of Mendeleev’s periodic table’, University<br />
of Milano, 2006). Project ‘Multi-platform Promotional Communication<br />
for Distribution Industry’. Project University WebTV. He is a<br />
McLuhan Fellow <strong>in</strong> the McLuhan Program <strong>in</strong> Culture and Technology,<br />
and is currently develop<strong>in</strong>g the projects Universal Marg<strong>in</strong> and The Era<br />
of Tag.<br />
› The world as wide web: follow<strong>in</strong>g codes to access knowledge-lands,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2, 173-179.<br />
Professor Sean Cubitt is Professor of Global Media and<br />
Communication at W<strong>in</strong>chester School of Art, University of<br />
Southampton. He is Professorial Fellow <strong>in</strong> Media and Communications<br />
at the University of Melbourne, and an Honorary Professor of the<br />
University of Dundee. His publications <strong>in</strong>clude Timeshift (1991),<br />
Videography (1993), Digital Aesthetics (1998), Simulation and Social
Keywords transnational, c<strong>in</strong>ema,<br />
technology, globalization, public<br />
sphere<br />
Keith Cumm<strong>in</strong>gs<br />
The Granary, Thicknall Lane, Clent,<br />
Stourbridge, West Midlands, DY9<br />
OHP, United K<strong>in</strong>gdom<br />
Keywords glass, craft<br />
Leslie Cunliffe<br />
University of Exeter, Heavitree Road,<br />
Exeter, Devon, EX1 2LU, United<br />
K<strong>in</strong>gdom<br />
Keywords creativity, extra-curricular<br />
activities, <strong>in</strong>terdiscipl<strong>in</strong>ary work, case<br />
study<br />
Hillary Cunliffe-<br />
Charlesworth<br />
Theory (2001), The C<strong>in</strong>ema Effect (2004) and EcoMedia (2005). He is<br />
series editor for Leonardo Books at The MIT Press.<br />
› Reflections on medium specificity occasioned by the symposium 'Digital<br />
Light: Technique, Technology, Creation', Melbourne, 2011, Mov<strong>in</strong>g Image<br />
Review & Art Journal MIRAJ, 1.1, 37-49.<br />
Keith Cumm<strong>in</strong>gs is Professor of Glass Studies at Wolverhampton<br />
University. He has been teach<strong>in</strong>g, writ<strong>in</strong>g and mak<strong>in</strong>g for over four<br />
decades. He has written four books and numerous articles on glass. His<br />
latest book Contemporary Kiln-Formed Glass was published by A. and<br />
C. Black <strong>in</strong> 2009. His work is <strong>in</strong> major collections worldwide,<br />
<strong>in</strong>clud<strong>in</strong>g The Victoria & Albert Museum, London; Corn<strong>in</strong>g Museum,<br />
New York; and The Museum of Decorative Art, Paris. He was<br />
shortlisted for the Jerwood Prize <strong>in</strong> the Applied <strong>Arts</strong> <strong>in</strong> 1998, and has<br />
been listed <strong>in</strong> Who’s Who s<strong>in</strong>ce 2003.<br />
› THE PORTRAIT SECTION, Craft Research, 2.1, 143-160.<br />
Leslie Cunliffe is a senior lecturer at the University of Exeter where he<br />
runs the secondary PGCE art course. He has experience of<br />
undergraduate and post-graduate teach<strong>in</strong>g and higher degree<br />
supervision. He taught <strong>in</strong> secondary schools for fourteen years. He has<br />
exhibited pa<strong>in</strong>t<strong>in</strong>gs and draw<strong>in</strong>gs at the Royal Academy and the Royal<br />
Exchange. His <strong>research</strong> embraces a range of topics to <strong>in</strong>clude empirical<br />
aesthetics, cognitive processes and art education, the role of declarative<br />
and precedural knowledge <strong>in</strong> art education, Wittgenste<strong>in</strong>'s philosophy<br />
and art education, and virtue approaches to creativity and knowledge.<br />
He has published <strong>in</strong> a wide range of books and <strong>research</strong> journals.<br />
› A case study of an extra-curricular school activity designed to promote<br />
creativity, International Journal of Education through Art, 4.1, 91-105.<br />
Hilary Cunliffe-Charlesworth Ph.D., MA (RCA) BA (Hons) F<strong>in</strong>e Art<br />
Works as a Learn<strong>in</strong>g, Teach<strong>in</strong>g and Assessment co-ord<strong>in</strong>ator <strong>in</strong> the<br />
Faculty of <strong>Arts</strong>, Comput<strong>in</strong>g, Eng<strong>in</strong>eer<strong>in</strong>g and Sciences at Sheffield<br />
Hallam. She teaches students across f<strong>in</strong>e art, design and media and is
Sheffield Hallam University, Faculty<br />
of <strong>Arts</strong>, Comput<strong>in</strong>g, Eng<strong>in</strong>eer<strong>in</strong>g and<br />
Sciences, Furnival Build<strong>in</strong>g,<br />
Sheffield, S1 2NU, United K<strong>in</strong>gdom<br />
Keywords f<strong>in</strong>e art, design, media, art<br />
education<br />
Stuart Cunn<strong>in</strong>gham<br />
Queensland University of<br />
Technology, Creative Industries<br />
Faculty, Musk Avenue, Kelv<strong>in</strong> Grove,<br />
Brisbane, Queensland, 4059,<br />
Australia<br />
Keywords mapp<strong>in</strong>g, <strong>in</strong>ternational<br />
comparative mapp<strong>in</strong>g, Australia,<br />
United K<strong>in</strong>gdom, employment<br />
statistics<br />
Brian Curt<strong>in</strong><br />
Keywords<br />
Arnold Cusmariu<br />
Keywords directional perception,<br />
mereotopology, paradigm shift,<br />
philosophical analysis, sculpture<br />
<strong>in</strong>terested <strong>in</strong> the ways <strong>in</strong> which creative students engage with new<br />
media, and the relationship of employment and professional practice to<br />
the educational studio.<br />
› Reviews, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.1, 79-88.<br />
Professor Stuart Cunn<strong>in</strong>gham is Director at the Australian Research<br />
Council Centre of Excellence for Creative Industries and Innovation,<br />
Queensland University of Technology. He has written extensively on<br />
Australian screen <strong>in</strong>dustries, cultural policy and on creative <strong>in</strong>dustries<br />
and <strong>in</strong>novation. His most recent work is What Price a Creative<br />
Economy? (Platform Papers, 2006).<br />
› Creative Industries Mapp<strong>in</strong>g: Where have we come from and where are we<br />
go<strong>in</strong>g?, Creative Industries Journal, 1.1, 7-30.<br />
› BOOK REVIEWS, Journal of Curatorial Studies, 1.1, 121-130.<br />
Arnold Cusmariu received his Ph.D. <strong>in</strong> Philosophy from Brown<br />
University with a dissertation under Ernest Sosa on the problem of<br />
universals, to which he formulates and defends a radical Platonist<br />
solution. He shows, among other th<strong>in</strong>gs, that the 'Third Man' argument<br />
and Russell's Paradox are really the same problem and should be<br />
solved the same way. While <strong>in</strong> academia, he published articles on<br />
technical subjects <strong>in</strong> logic, philosophy of language, philosophy of<br />
m<strong>in</strong>d, and metaphysics. He became <strong>in</strong>terested <strong>in</strong> sculpture <strong>in</strong> 1984 and<br />
obta<strong>in</strong>ed tra<strong>in</strong><strong>in</strong>g at the Art League <strong>in</strong> Alexandria, Virg<strong>in</strong>ia, eventually<br />
settl<strong>in</strong>g on stone as his preferred medium. He has produced over 100<br />
pieces to date and has participated <strong>in</strong> juried exhibits <strong>in</strong> the Wash<strong>in</strong>gton<br />
DC area, where he lives. Some of his pieces are <strong>in</strong> private collections.
N<strong>in</strong>a Czegledy<br />
KMDI, University of Toronto,<br />
Concordia U, Montreal, Hungarian<br />
University of F<strong>in</strong>e <strong>Arts</strong>,<br />
Budapestontreal, F<strong>in</strong>e <strong>Arts</strong> Studio<br />
(Concordia), Apartment 504 - 300 St.<br />
Clair Avenue W., Toronto, Ontario,<br />
M4V 1S4, Canada<br />
Keywords science and technology,<br />
education, data visualization, electromagnetism,<br />
bio-magnetism, bioelectricity,<br />
electro-magnetic art, urban<br />
ecology<br />
Carlos Augusto Moreira<br />
da Nóbrega<br />
Keywords coherence, energy, field,<br />
<strong>in</strong>teractive art, mitogenetic radiation<br />
Peter Dallow<br />
University of Western Sydney,<br />
› The structure of an aesthetic revolution, Journal of Visual Art Practice, 8.3,<br />
163-179.<br />
N<strong>in</strong>a Czegledy, Senior Fellow at KMDI, University of Toronto,<br />
Adjunct Associate Professor at Concordia University Montreal and<br />
Honorary Fellow at Moholy Nagy University of <strong>Arts</strong> and Design,<br />
Budapest, is an <strong>in</strong>dependent artist and curator focus<strong>in</strong>g on art and<br />
science collaborations. Her lectures lead to many <strong>in</strong>ternational<br />
publications.<br />
› Bioelectromagnetism: discrete <strong>in</strong>terpretations, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 1.2, 135-142.<br />
Carlos (Guto) Nóbrega is Doctor of Philosophy (2009) from The<br />
Planetary Collegium (CAiiA-STAR), based <strong>in</strong> the School of Art and<br />
Media, University of Plymouth. His doctoral thesis, funded by CAPES<br />
– BRAZIL, is a transdiscipl<strong>in</strong>ary <strong>research</strong> <strong>in</strong> the fields of art, science,<br />
technology and nature that <strong>in</strong>vestigates how the confluence of these<br />
doma<strong>in</strong>s (<strong>in</strong> particular <strong>in</strong> the last decades) has <strong>in</strong>formed the creation of<br />
new aesthetics experiences. As a result of this study, a theoreticalpractical<br />
<strong>in</strong>tervention <strong>in</strong> the field of arts with focus on the ideas of<br />
<strong>in</strong>teractivity, telematics, field theories, and the most recent theories of<br />
biophotons were developed. Dur<strong>in</strong>g this process he has developed a<br />
series of artworks that encompass draw<strong>in</strong>gs, photos, videos and<br />
robotics systems.<br />
› Biophoton – the language of the cells: What can liv<strong>in</strong>g systems tell us about<br />
<strong>in</strong>teraction?, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 4.3, 193-<br />
202.<br />
Peter Dallow lives <strong>in</strong> Sydney, Australia. He teaches Media Studies, and<br />
supervises <strong>research</strong> degrees <strong>in</strong> media, design and creative arts, <strong>in</strong> the<br />
School of Communication <strong>Arts</strong> at the University of Western Sydney.
School of Communication <strong>Arts</strong>,<br />
Locked Bag 1797, Penrith Campus,<br />
Sydney, New South Wales, 1797,<br />
Australia<br />
Keywords contemporary arts,<br />
creativity, <strong>research</strong>er, practice-as<strong>research</strong>,<br />
creative arts<br />
Marie-Louise Damen<br />
VU University Amsterdam,<br />
Sociology, Metropolitan-room N516,<br />
De Boelelaan 1081, Amsterdam,<br />
Netherlands<br />
Keywords art education, sociology,<br />
secondary education<br />
Bruce Damer<br />
University of East London, The<br />
SMARTLab Digital Media Institute,<br />
Docklands Campus, 4-6 University<br />
Way, London, E16 2RD, United<br />
K<strong>in</strong>gdom<br />
Keywords evolution, computer<br />
simulation, artificial life, orig<strong>in</strong>s of<br />
life, primordial digital soup<br />
Mona Damluji<br />
University of California, Berkeley<br />
Keywords<br />
He has a background <strong>in</strong> media and creative arts practice, is actively<br />
engaged <strong>in</strong> nationally funded <strong>research</strong> <strong>in</strong>to aspects of new digital<br />
technologies and their cultural application, and also writes literary<br />
fiction.<br />
› Represent<strong>in</strong>g creativeness: practice-based approaches to <strong>research</strong> <strong>in</strong> creative<br />
arts, Art, Design & Communication <strong>in</strong> Higher Education, 2.1, 49-66.<br />
Marie-Louise Damen is a postdoctoral <strong>research</strong>er at the sociology<br />
department of VU University Amsterdam. She obta<strong>in</strong>ed her Ph.D. with<br />
a <strong>research</strong> project about the effects of arts education <strong>in</strong> secondary<br />
schools on the cultural participation of students.<br />
› The U-curve go<strong>in</strong>g Dutch: Cultural differences <strong>in</strong> judgements of artwork<br />
from different age and expertise groups, International Journal of Education<br />
through Art, 7.2, 153-169.<br />
Bruce Damer wears many hats, one as a pioneer of the virtual worlds<br />
medium, hav<strong>in</strong>g helped to develop early ‘avatar’ virtual spaces and<br />
communities, another as an expert on the history of comput<strong>in</strong>g, <strong>in</strong> his<br />
Digibarn Computer Museum <strong>in</strong> Northern California, and yet another as<br />
a designer and simulation team leader for NASA, modell<strong>in</strong>g current<br />
and future space missions. In 1996 he established Biota.org, a nonprofit<br />
organization which created a series of <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
<strong>in</strong>ternational conferences.<br />
› The EvoGrid, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2, 175-<br />
190.<br />
Mona Damluji is a doctoral candidate <strong>in</strong> Architecture at the University<br />
of California, Berkeley. Her dissertation is a postcolonial study of<br />
representations of the city and nation-build<strong>in</strong>g <strong>in</strong> Iraq Petroleum<br />
Company films dur<strong>in</strong>g the 1950s.<br />
› Book Reviews, International Journal of Islamic Architecture, 1.1, 151-168.
N<strong>in</strong>a Dan<strong>in</strong>o<br />
Keywords<br />
Kather<strong>in</strong>a Danko-<br />
McGhee<br />
The Toledo Museum of Art, 2445<br />
Monroe Street, Toledo, Ohio 43620,<br />
United States of America<br />
Keywords aesthetic preferences,<br />
young children, artworks, museums<br />
Jane Darke<br />
Cornwall, United K<strong>in</strong>gdom<br />
Keywords film, art. transience, beach<br />
Bernard Darras<br />
University of Paris 1 Pantheon-<br />
Sorbonne, CRICC, UFR 04, 47 rue<br />
des Berges, Paris, 75015, France<br />
Keywords draw<strong>in</strong>g process, graphic<br />
components, trans-cultural<br />
commonalities, cognition<br />
› Round table discussion: The affects of the abstract image <strong>in</strong> film and video<br />
art, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 79-87.<br />
Kather<strong>in</strong>a Danko-McGhee is the new Director of Education at the<br />
Toledo Museum of Art. She is a former Professor of Art Education <strong>in</strong><br />
the Department of Art at the University of Toledo. She oversees and<br />
also teaches the methods course, Art for the Pre and Primary Child, and<br />
coord<strong>in</strong>ates the annual Children’s Art Workshop and Art Exhibition.<br />
Her <strong>research</strong> <strong>in</strong>terests are the aesthetic preferences of young children,<br />
the environment as third teacher, and museum experiences for children.<br />
› Favourite artworks chosen by young children <strong>in</strong> a museum sett<strong>in</strong>g,<br />
International Journal of Education through Art, 2.3, 223-235.<br />
› Judg<strong>in</strong>g a book by its cover: Preschool children’s aesthetic preferences for<br />
picture books, International Journal of Education through Art, 7.2, 171-185.<br />
Jane Darke is an artist and filmmaker resid<strong>in</strong>g on the coast of<br />
Cornwall. Her films <strong>in</strong>clude The Wreak<strong>in</strong>g Season and The Art of<br />
Catch<strong>in</strong>g Lobsters. Her academic <strong>in</strong>terests <strong>in</strong>clude transience, natural<br />
objects, and the perception of spaces.<br />
› Record<strong>in</strong>g the World, Journal of Visual Art Practice, 9.3, 231-238.<br />
Bernard Darras is Research Professor at the Université Paris 1<br />
Panthéon-Sorbonne. His ma<strong>in</strong> <strong>in</strong>terests are: pragmatic and cognitive<br />
semiotics, visual and material cultures and cultural <strong>in</strong>dustries. He is <strong>in</strong><br />
charge of the Centre de Recherche Images, Cultures et Cognitions.<br />
› Children's processes of draw<strong>in</strong>g from memory: a trans-cultural study <strong>in</strong><br />
France and Brazil, International Journal of Education through Art, 4.1, 57-<br />
73.
Nicholas Davey<br />
University of Dundee, Philosophy,<br />
Department of Humanities, Dundee,<br />
DD1 4HN, United K<strong>in</strong>gdom<br />
Keywords art theory, artwork,<br />
aesthetic experience, hermeneutics,<br />
language<br />
Kate Davies<br />
Architectural Association and<br />
University College London<br />
Keywords architecture, education,<br />
ecology<br />
Ian Dawe<br />
Selkirk College, School of University<br />
<strong>Arts</strong> and Sciences, Castlegar Campus,<br />
301 Frank Be<strong>in</strong>der Way, Castlegar,<br />
BC, V1N 4L3, Canada<br />
Keywords biology, Alan Moore,<br />
grotesque, eroticism<br />
Nicholas Davey, Ph.D., MA, is Professor <strong>in</strong> Philosophy at the<br />
University of Dundee. He has <strong>in</strong>itiated and co-organized the series of<br />
Scottish Theoros conferences s<strong>in</strong>ce 1998. His pr<strong>in</strong>cipal <strong>research</strong><br />
<strong>in</strong>terests concern hermeneutics, aesthetics, the philosophy of Friederich<br />
Nietzsche and the work of Hans-Georg Gadamer. With regard to<br />
hermeneutics, his new book Unquiet Understand<strong>in</strong>g: Reflections on<br />
Philosophical Hermeneutics will appear with State University Press of<br />
New York <strong>in</strong> 2006. He is currently writ<strong>in</strong>g a book entitled The<br />
Hermeneutical Imag<strong>in</strong>ation which makes a critical analysis of the role<br />
hermeneutics plays with<strong>in</strong> aesthetics.<br />
› Aesthetic f(r)iction: the conflicts of visual experience, Journal of Visual Art<br />
Practice, 4.2, 135-150.<br />
Kate Davies Bsc [hons], DipArch, MArch. Kate Davies is a designer,<br />
writer and educator. She runs Diploma 6 [previously <strong>in</strong>termediate 7] at<br />
the Architectural Association, London, together with Liam Young of<br />
Tomorrows Thoughts Today. Kate graduated from the Bartlett School<br />
of Architecture. She has taught previously at London Metropolitan<br />
University and Chelsea College of Art and is regularly <strong>in</strong>volved <strong>in</strong><br />
<strong>in</strong>ternational design workshops, most recently <strong>in</strong> Korea, Sweden and<br />
Spa<strong>in</strong>.<br />
› Project profiles, Design Ecologies, 1.1, 153-.<br />
Ian Dawe received an MA <strong>in</strong> Film Studies from the University of<br />
Exeter <strong>in</strong> 2007, with a dissertation on director Terry Gilliam <strong>in</strong>clud<strong>in</strong>g<br />
an exploration of the grotesque <strong>in</strong> film. He currently teaches Film<br />
Studies and World C<strong>in</strong>ema at Selkirk College <strong>in</strong> Nelson, BC, Canada,<br />
where he has also lectured on the literary tradition of Watchmen. A<br />
longtime comic book and film enthusiast, he also has a background <strong>in</strong><br />
the sciences and teaches Biology and Biological Anthropology.<br />
› The Moore film adaptations and the erotic-grotesque, Studies <strong>in</strong> Comics, 2.1,<br />
177-193.<br />
Shezad Dawood Shezad Dawood tra<strong>in</strong>ed at Central St Mart<strong>in</strong>’s and the Royal College of
Keywords text, theory/practice, reenactment,<br />
documentation, theatre<br />
Barbara de la Harpe<br />
Royal Melbourne Institute of<br />
Technology, Design and Social<br />
Context Office, 200 Ballarat Road,<br />
Hamilton, VIC 3300, Australia<br />
Keywords design and architecture,<br />
studio learn<strong>in</strong>g and teach<strong>in</strong>g,<br />
constructivism, scholarly teach<strong>in</strong>g,<br />
scholarship of teach<strong>in</strong>g and learn<strong>in</strong>g<br />
(SoTL)<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
Keywords virtual architecture,<br />
contemporary experimental music,<br />
virtual music, cognition, perception,<br />
mirror neuron, logic, discovery,<br />
democracy, isonomy, synaptic<br />
Art before undertak<strong>in</strong>g a Ph.D. at Leeds Metropolitan University. He<br />
works across <strong>in</strong>stallation and film, look<strong>in</strong>g at a discursive model of<br />
practice that takes <strong>in</strong> both mystical and literary/historical narratives.<br />
Often draw<strong>in</strong>g on his complex heritage, his projects have been<br />
<strong>in</strong>fluenced by Sufism as much as Samuel Beckett, and his large-scale<br />
<strong>in</strong>terventions often work with musicians, actors and other collaborators<br />
across a breadth of global locations. Dawood’s work has been exhibited<br />
<strong>in</strong>ternationally, <strong>in</strong>cluded as part of Altermodern - curated by Nicolas<br />
Bourriaud at Tate Brita<strong>in</strong>, and the 53rd Venice Biennale (both 2009).<br />
Upcom<strong>in</strong>g projects <strong>in</strong>clude a collaboration with contemporary dance<br />
choreographer Jasm<strong>in</strong> Vardimon at Sadlers Wells <strong>in</strong> London (2011),<br />
and a feature-length sci-fi film, which will go <strong>in</strong>to production <strong>in</strong> the<br />
summer of 2011. Dawood currently lives and works <strong>in</strong> London, where<br />
he is Senior Lecturer<br />
› The kill<strong>in</strong>g of Chief Crazy Horse – An allegory <strong>in</strong> 3 parts, Journal of Visual<br />
Art Practice, 8.1&2, 119-140.<br />
Barbara de la Harpe is the Associate Pro Vice Chancellor, Learn<strong>in</strong>g<br />
and Teach<strong>in</strong>g <strong>in</strong> the College of Design and Social Context at RMIT<br />
University. For eighteen years she has been <strong>in</strong>volved <strong>in</strong> teach<strong>in</strong>g and<br />
academic professional development <strong>in</strong> higher education. Her<br />
background is <strong>in</strong> science education and educational psychology, and<br />
her fields of expertise <strong>in</strong>clude: learn<strong>in</strong>g; generic skill development;<br />
university change management; and teacher professional development.<br />
Her Ph.D., study was on student learn<strong>in</strong>g and she is widely published<br />
<strong>in</strong> learn<strong>in</strong>g and teach<strong>in</strong>g.<br />
› Through the learn<strong>in</strong>g and teach<strong>in</strong>g look<strong>in</strong>g glass: What do academics <strong>in</strong> art,<br />
design and architecture publish about most?, Art, Design & Communication<br />
<strong>in</strong> Higher Education, 7.3, 135-154.<br />
Emanuel Dimas de Melo Pimenta, an architect, urban planner,<br />
musician and photographer, has dedicated his life to the <strong>research</strong> of<br />
m<strong>in</strong>d processes through the Theory of Thought and Neurology. In the<br />
last years of the 1970s he started to create his musical compositions<br />
<strong>in</strong>side virtual environments. In the early 1980s he co<strong>in</strong>ed the concept<br />
virtual architecture. As composer, he collaborated with John Cage and<br />
rema<strong>in</strong>ed a composer for Merce Cunn<strong>in</strong>gham from 1986 till his death<br />
<strong>in</strong> 2009. With twenty-five published compact discs, four CD-ROMs,<br />
about 40 books, and several papers, his works have been regularly<br />
published <strong>in</strong> England, the United States, Japan, the Netherlands,
patterns Portugal, Brazil, Germany, Switzerland, Hungary, Italy and Spa<strong>in</strong>. He<br />
is director of the <strong>Arts</strong>, Sciences and Technology Foundation -<br />
Observatory, <strong>in</strong> Trancoso, Portugal and of the Holotopia Academy, <strong>in</strong><br />
the Amalfi Coast, Italy.<br />
Lisa De Propris<br />
University of Birm<strong>in</strong>gham,<br />
Birm<strong>in</strong>gham Bus<strong>in</strong>ess School,<br />
Birm<strong>in</strong>gham, B15 2TT, United<br />
K<strong>in</strong>gdom<br />
Keywords cultural clusters, creative<br />
class, local and regional development,<br />
jewellery <strong>in</strong>dustry, creative cluster,<br />
Birm<strong>in</strong>gham<br />
Victoria de Rijke<br />
Middlesex University, Department of<br />
<strong>Arts</strong> and Education, The Burroughs,<br />
London, NW4 4BT, United K<strong>in</strong>gdom<br />
Keywords play, sound, poetry,<br />
nursery, Dada<br />
› M<strong>in</strong>d: scarlet ocean, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
4.2, 117-128.<br />
› MONDO: Literature and democracy: the metamorphosis of the future<br />
cognitive mutations and human values: REDUX, Technoetic <strong>Arts</strong>: A Journal<br />
of Speculative Research, 6.2, 171-184.<br />
Lisa De Propris is a Senior Lecturer <strong>in</strong> Industrial Economics <strong>in</strong> the<br />
Birm<strong>in</strong>gham Bus<strong>in</strong>ess School. Her ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
clusters, competitiveness <strong>in</strong> clusters and regions, <strong>in</strong>novation,<br />
knowledge economy and clusters, city and creative <strong>in</strong>dustries and EU<br />
regional policy. She has worked on the Birm<strong>in</strong>gham Jewellery Quarter<br />
on a British Academy Grant and is currently PI for a NESTA <strong>research</strong><br />
project <strong>in</strong> ‘Creative Clusters and Regional Innovation’.<br />
› Drivers and Processes of Creative Industries <strong>in</strong> Cities and Regions, Creative<br />
Industries Journal, 2.1, 9-18.<br />
› Creativity and Space: the opportunity of an urban creative jewellery cluster,<br />
Creative Industries Journal, 2.1, 37-56.<br />
Orig<strong>in</strong>ally a primary-school teacher, Dr Victoria de Rijke is Pr<strong>in</strong>cipal<br />
Lecturer <strong>in</strong> English, Education & the Perform<strong>in</strong>g <strong>Arts</strong> and cocoord<strong>in</strong>ator<br />
of the Research <strong>in</strong> Education, <strong>Arts</strong>, Language & Learn<strong>in</strong>g<br />
Centre (REALL) at Middlesex University. With support from an<br />
AHRC <strong>research</strong> grant, she is currently writ<strong>in</strong>g a book on the cultural<br />
history of the duck for Reaktion Books’ acclaimed Animal series. The<br />
Quack Project is a multimedia CD-ROM featur<strong>in</strong>g animal sounds made<br />
by young children us<strong>in</strong>g ten different languages spoken across London.<br />
› Dare to Dada: an argument for visual and verbal avant-garde poetry <strong>in</strong> the<br />
nursery, International Journal of Education through Art, 2.3, 211-222.
Sheila de Rosa<br />
Keywords motherhood, art,<br />
fem<strong>in</strong>ism, Kristeva, Louise Bourgeois<br />
Michael Dean<br />
Keywords<br />
Çigdem Demir<br />
Gazi University, Gazi Egitim<br />
Fakultesi, 06500 Teknikokullar,<br />
Ankara, Turkey<br />
Keywords creativity, bra<strong>in</strong>storm<strong>in</strong>g,<br />
art, education<br />
Anna M Dempster<br />
Birkbeck College, Department of<br />
Management, University of London,<br />
Malet Street, London, WC1E 7HX,<br />
United K<strong>in</strong>gdom<br />
Sheila de Rosa is a multimedia artist work<strong>in</strong>g <strong>in</strong> pr<strong>in</strong>t, photography,<br />
ceramics and glass. S<strong>in</strong>ce graduat<strong>in</strong>g with an MA <strong>in</strong> F<strong>in</strong>e and Applied<br />
Art Practice from the University of Hertfordshire last year, she has<br />
divided her time between complet<strong>in</strong>g a commission for the Brighton<br />
Festival Fr<strong>in</strong>ge, organiz<strong>in</strong>g a solo show and facilitat<strong>in</strong>g arts practice to<br />
a variety of groups.<br />
› Mother, dear Mother, Journal of Visual Art Practice, 3.2, 83-90.<br />
Michael Dean, B.A. (Honours), MArch, lives and works <strong>in</strong> London. He<br />
has studied at the University of Sheffield School of Architecture and at<br />
The Bartlett Faculty of the Built Environment, University College<br />
London.<br />
› Project Profiles, Design Ecologies, 1.2, 307-321.<br />
Çigdem Demir was born <strong>in</strong> 1975 <strong>in</strong> Ankara, Turkey. She graduated<br />
from Hacettepe University, F<strong>in</strong>e <strong>Arts</strong> Faculty, Graphic Design<br />
Department <strong>in</strong> 1998 with an award for excellence. She obta<strong>in</strong>ed her<br />
MA from Hacettepe University <strong>in</strong> 2001, spend<strong>in</strong>g one year <strong>in</strong> the<br />
Multimedia Department at Brera Academy <strong>in</strong> Milan, Italy, through a<br />
<strong>research</strong> scholarship from the Italian Government <strong>in</strong> 2001. She is<br />
currently a Ph.D. student at Hacettepe University and a <strong>research</strong><br />
assistant at Gazi University. She has received ten graphic design<br />
awards, particpated <strong>in</strong> national and <strong>in</strong>ternational exhibitions, and<br />
speaks four languages.<br />
› Enhanc<strong>in</strong>g creativity <strong>in</strong> art education through bra<strong>in</strong>storm<strong>in</strong>g, International<br />
Journal of Education through Art, 1.2, 153-160.<br />
Dr. Anna M. Dempster is a Lecturer <strong>in</strong> Management, Birkbeck<br />
College, University of London and Deputy Director of the Creative<br />
Industries Observatory, University of the <strong>Arts</strong>, London. Her current<br />
<strong>research</strong> is broadly concerned with entrepreneurship and strategic<br />
management <strong>in</strong> highly uncerta<strong>in</strong> environments, <strong>in</strong>clud<strong>in</strong>g the impact of<br />
risk and uncerta<strong>in</strong>ty on creativity and <strong>in</strong>novation.
Keywords entrepreneurship, strategic<br />
management, risk, creativity,<br />
<strong>in</strong>novation<br />
Paul G. Dempster<br />
University of Leeds, School of<br />
Medic<strong>in</strong>e, Leeds Institute of Health<br />
Sciences, Charles Thackrah Build<strong>in</strong>g,<br />
101 Clarendon Road, Leeds, LS2 9LJ,<br />
United K<strong>in</strong>gdom<br />
Keywords age<strong>in</strong>g, death,<br />
bereavement, social care<br />
Rayna Denison<br />
University of East Anglia, School of<br />
Film and Television Studies, <strong>Arts</strong> 2<br />
Build<strong>in</strong>g, Room 1.46, c/o Room 2.40,<br />
Norwich, Norfolk, NR4 7TJ, United<br />
K<strong>in</strong>gdom<br />
Keywords fandom, anime, creativity,<br />
hybrid identity, creative <strong>in</strong>dustries<br />
Tyler Denmead<br />
University of Cambridge, Faculty of<br />
Education, University of Cambridge,<br />
184 Hills Road, Cambridge, CB2<br />
8PQ, United K<strong>in</strong>gdom<br />
Keywords urban art, emerg<strong>in</strong>g artists<br />
› An Operational Risk Framework for the Perform<strong>in</strong>g <strong>Arts</strong> and Creative<br />
Industries, Creative Industries Journal, 1.2, 151-170.<br />
› Review, Creative Industries Journal, 2.3, 313-316.<br />
Paul jo<strong>in</strong>ed the Institute of Health Sciences <strong>in</strong> 2008. Currently he is a<br />
Research Manager and Fellow <strong>in</strong> the Academic Unit for Primary Care.<br />
His prior <strong>research</strong> <strong>in</strong> the Yorkshire Centre for Health Informatics and<br />
the Centre for Health and Social Care focussed on exam<strong>in</strong><strong>in</strong>g the<br />
rollout of electronic health programmes and <strong>in</strong>vestigat<strong>in</strong>g the role of<br />
governance with<strong>in</strong> Foundation Trust Hospitals.<br />
› REVIEWS, Journal of Applied <strong>Arts</strong> & Health, 2.1, 93-101.<br />
Rayna Denison is a professor at the University of East Anglia<br />
Department of Film and Television Studies. She specializes <strong>in</strong> Japanese<br />
c<strong>in</strong>ema and manga, and the worldwide distribution and circulation of<br />
these media. Her work has been published <strong>in</strong> Animation and Scope: An<br />
Onl<strong>in</strong>e Journal of Film Studies.<br />
› Transcultural creativity <strong>in</strong> anime: Hybrid identities <strong>in</strong> the production,<br />
distribution, texts and fandom of Japanese anime, Creative Industries<br />
Journal, 3.3, 221-235.<br />
Tyler Denmead is a doctoral candidate at the University of Cambridge.<br />
Prior to graduate studies, he was the found<strong>in</strong>g executive director of<br />
New Urban <strong>Arts</strong>, an <strong>in</strong>terdiscipl<strong>in</strong>ary storefront arts studio for urban<br />
teenagers and emerg<strong>in</strong>g artist mentors. In recent years, New Urban <strong>Arts</strong><br />
has been recognized by First Lady Michelle Obama, the US<br />
Department of Education, and the Ford Foundation supported<br />
Artogrpahy programme.<br />
› Meet<strong>in</strong>g and extend<strong>in</strong>g participants: exploratory case studies of community<br />
artist pedagogy, Journal of <strong>Arts</strong> & Communities, 1.3, 235-246.
Rea Dennis<br />
University of Glamorgan, School of<br />
Creative and Cultural Industries,<br />
Atrium Campus, Adam Street,<br />
Cardiff, CF24 2NX, United K<strong>in</strong>gdom<br />
Keywords autobiography, memory,<br />
embodiment, improvisation,<br />
performance<br />
Silke Dettmers<br />
University College for the Creative<br />
<strong>Arts</strong>, Oakwood Park, Maidstone,<br />
Kent, ME16 8AG, United K<strong>in</strong>gdom<br />
Keywords art practice, <strong>research</strong>,<br />
<strong>in</strong>stitutions, art writ<strong>in</strong>g, sculpture<br />
Angela Devas<br />
Thames Valley University, London<br />
College of Music and Media, St<br />
Mary's Road, Eal<strong>in</strong>g, London, W5<br />
5RF, United K<strong>in</strong>gdom<br />
Keywords discourse, power,<br />
reflection, subjectivity, surveillance<br />
Belidson Dias<br />
Universidade de Brasília, Artes<br />
Visuais, SQN 206 Bloco K apt 201,<br />
Brasília, DF, 70844-110, Brazil<br />
Keywords visual culture,<br />
spectatorship, art education,<br />
Rea Dennis is a scholar and practitioner based at the School of Creative<br />
and Cultural Industries, University of Glamorgan, UK. She has a long<br />
<strong>in</strong>terest <strong>in</strong> story and theatre-based methodologies for cultural<br />
development and has applied these <strong>in</strong> various contexts over the past<br />
twenty years. She completed her Ph.D. <strong>in</strong> Applied Theatre at Griffith<br />
University <strong>in</strong> Australia <strong>in</strong> 2004. Her <strong>in</strong>terests <strong>in</strong>clude unblock<strong>in</strong>g<br />
human potential through expressive arts and autobiography/memory<br />
and physiological performance practices.<br />
› Sens<strong>in</strong>g the story: structure and improvisation <strong>in</strong> writ<strong>in</strong>g for performance,<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.2, 231-250.<br />
Silke Dettmers is a sculptor. Also a Senior Lecturer, she teaches at the<br />
University College for the Creative <strong>Arts</strong>, Maidstone. Most recently her<br />
work was exhibited as part of 'Art Projects', selected by the London<br />
Artfair (2008), Mark Barrow F<strong>in</strong>e <strong>Arts</strong>, London (2007).<br />
› On the necessity of wonder: How to expla<strong>in</strong> an artwork to a committee,<br />
Journal of Visual Art Practice, 7.1, 37-55.<br />
Angela Devas currently teaches media, film and communication<br />
studies at Thames Valley University. She has had many years<br />
experience of teach<strong>in</strong>g and programme management <strong>in</strong> media and film<br />
studies. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude pedagogy, ‘race’, gender and<br />
nationality.<br />
› Reflection as confession: discipl<strong>in</strong>e and docility <strong>in</strong>/on the student body, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 3.1, 33-46.<br />
Belidson Dias has a BA <strong>in</strong> Art Education from the Universidade de<br />
Brasilia, Brazil (1989), an MA <strong>in</strong> Visual <strong>Arts</strong> - pa<strong>in</strong>t<strong>in</strong>g - from the<br />
Manchester Metropolitan University (1992), and a Ph.D. <strong>in</strong> Curricular<br />
Studies <strong>in</strong> Art Education from the University of British Columbia<br />
(2006). She was also a Fellowship program recipient for the MA <strong>in</strong><br />
pa<strong>in</strong>t<strong>in</strong>g at the Chelsea School of Art & Design (1993). Currently she is<br />
Associate Professor (adjunct <strong>in</strong> Brazil) of the Department of Visual<br />
<strong>Arts</strong> of the University of Brasilia. Her experience bridges the areas of
fem<strong>in</strong>ism, queer theory visual arts and visual culture education, with emphasis on the study of<br />
representations of gender and sexuality <strong>in</strong> contemporary visual arts.<br />
Lately she focuses on the study of queer theory and the critical studies<br />
of sexuality to analyse the visual arts, specifically c<strong>in</strong>ema and<br />
photography.<br />
Lily Díaz<br />
Aalto University, Department of<br />
Media, 135C, Hämeentie, Hels<strong>in</strong>ki,<br />
SF 00560, F<strong>in</strong>land<br />
Keywords <strong>in</strong>formatics, <strong>in</strong>teractivity,<br />
digital media, virtual reality<br />
María Del Río Diéguez<br />
Autónoma University of Madrid,<br />
Artistic, Plastic and Visual Education,<br />
Faculty of Education, Campus de<br />
Cantoblanco, Office I-319, Madrid,<br />
28049, Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion,<br />
education, art<br />
› Film spectatorship between queer theory and fem<strong>in</strong>ism: transcultural<br />
read<strong>in</strong>gs, International Journal of Education through Art, 1.2, 143-152.<br />
Lily Díaz is an artist, designer and <strong>research</strong>er work<strong>in</strong>g <strong>in</strong> he area of<br />
<strong>in</strong>formatics and <strong>in</strong>teractive and digital media. Currently she is<br />
professior and head of <strong>research</strong> <strong>in</strong> the Department of Media of the<br />
School of Art and Design at Aalto University <strong>in</strong> Hels<strong>in</strong>ki. Her art and<br />
design work has been exhibited <strong>in</strong> galleries such as the Royal Academy<br />
of Art <strong>in</strong> London, the Mart<strong>in</strong> Gropius Bau Museum <strong>in</strong> Berl<strong>in</strong>,<br />
Planetario Alfa <strong>in</strong> Monterrey Mexico and Design Museum Hels<strong>in</strong>ki.<br />
She has conducted <strong>research</strong> and development projects <strong>in</strong> areas such as<br />
visualization and <strong>in</strong>formation design, design and implementation of<br />
digital archives related to cultural heritage, and design of <strong>in</strong>terfaces for<br />
virtual reality.<br />
› New <strong>research</strong> practices for a new media, Journal of Visual Art Practice,<br />
10.1, 3-4.<br />
› By chance, randomness and <strong>in</strong>determ<strong>in</strong>acy methods <strong>in</strong> art and design,<br />
Journal of Visual Art Practice, 10.1, 21-33.<br />
María del Río Diéguez. Ph.D. Lecturer. Dept. of Artistic, Plastic and<br />
Visual Education. Faculty of Education. Autónoma University of<br />
Madrid (U.A.M.). (Office I-319). Coord<strong>in</strong>ator of Art Therapy Program<br />
of University Hospital Puerta de Hierro Majadahonda (Madrid). MA <strong>in</strong><br />
Art Therapy; MA <strong>in</strong> Psychotherapeutic Intervention. Member of<br />
Reseach Team.<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.
Val Diggle<br />
University College Falmouth,<br />
Learn<strong>in</strong>g Futures, Woodlane,<br />
Falmouth, TR11 4RH, United<br />
K<strong>in</strong>gdom<br />
Keywords critical, self-reflection,<br />
mapp<strong>in</strong>g, praxis, journal<strong>in</strong>g, creative<br />
process<br />
Clive Dilnot<br />
Parsons The New School for Design,<br />
New School University, 2 W 13th<br />
Streeet, New York, NY 10011, United<br />
States of America<br />
Keywords critical, processes, market<br />
forces, economics, crises<br />
Anne-Sophie D<strong>in</strong>ant<br />
Associate Curator, South London<br />
Gallery<br />
Keywords<br />
Ruth D<strong>in</strong>een<br />
University of Wales Institute, Cardiff<br />
Val Diggle is a writer and visual artist <strong>who</strong> has worked as an<br />
academic teach<strong>in</strong>g critical and cultural studies and as a Learn<strong>in</strong>g<br />
Advisor for postgraduate students <strong>in</strong> the United K<strong>in</strong>gdom and New<br />
Zealand. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude locative arts practices and<br />
narratives that occupy the lim<strong>in</strong>al zones between hypertext and the 'real<br />
world'. She is currently work<strong>in</strong>g on the loan<strong>in</strong>g project, as part of a<br />
practice-based Ph.D., mediated through the on-l<strong>in</strong>e supergame<br />
'geocach<strong>in</strong>g', and is an Academic Skills Advisor for the University<br />
College Falmouth, <strong>in</strong>corporat<strong>in</strong>g Dart<strong>in</strong>gton College of <strong>Arts</strong>.<br />
› Beautiful place/beautiful view – journey scrolls and writ<strong>in</strong>g structure <strong>in</strong> the<br />
hea(r)t of the southern hemisphere, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
1.3, 211-225.<br />
Clive Dilnot’s areas of <strong>in</strong>terest <strong>in</strong>clude f<strong>in</strong>e art, the history of art, and<br />
social philosophy. He has taught at Harvard University and <strong>in</strong> the<br />
United K<strong>in</strong>gdom. He is Professor of Design Studies and Director of<br />
Design Initiatives at the School of the Art Institute of Chicago; he also<br />
directed graduate studies <strong>in</strong> design <strong>in</strong> Hong Kong. He has written<br />
extensively on the history and theory of art, design, and architecture;<br />
his most recent work is on design ethics.<br />
› The Critical <strong>in</strong> Design (Part One), Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
1.2, 177-189.<br />
› Be<strong>in</strong>g prescient concern<strong>in</strong>g Obama, or Notes on the politics of configuration<br />
(part one), The Poster, 1.1, 7-29.<br />
Anne-Sophie D<strong>in</strong>ant is Associate Curator at the South London Gallery.<br />
› 'Situações-Limites': the emergence of video art <strong>in</strong> Brazil <strong>in</strong> the 1970s,<br />
Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 59-67.<br />
Ruth D<strong>in</strong>een is Head of Department of Creative Communication at the<br />
University of Wales Institute, Cardiff, and Honorary Professor at<br />
Sichuan Institute of F<strong>in</strong>e <strong>Arts</strong>, Chongqu<strong>in</strong>, Ch<strong>in</strong>a. She recently
School of Art & Design, Cardiff,<br />
CF11 9JP, United K<strong>in</strong>gdom<br />
Keywords creativity, learner,<br />
assessment, art and design<br />
Michel De Dobbeleer<br />
Ghent University, Department of<br />
Slavonic and East-European Studies,<br />
Rozier 44, Ghent, 9000, Belgium<br />
Keywords Watchmen, graphic<br />
novels, political history, Slavic<br />
languages, siege narratives<br />
Dunja Dogo<br />
Keywords modern languages, sacred<br />
symbology, Soviet Russia,<br />
symbology, propoganda<br />
received a Teach<strong>in</strong>g Fellowship Award <strong>in</strong> recognition of excellence <strong>in</strong><br />
learn<strong>in</strong>g & teach<strong>in</strong>g - one of the first to be awarded <strong>in</strong> Wales. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the promotion of learner creativity,<br />
particularly <strong>in</strong> the contexts of the United K<strong>in</strong>gdom and Ch<strong>in</strong>a, and the<br />
relationship between assessment and student motivation. She is<br />
currently develop<strong>in</strong>g a Welsh Centre for Creative Pedagogy <strong>in</strong> art,<br />
design and media.<br />
› The promotion of creativity <strong>in</strong> learners: theory and practice, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 4.3, 155-172.<br />
Michel De Dobbeleer (1978) is a Slavist, Italianist and Classicist, and<br />
teaches Old Church Slavonic Language, Literature and Culture at<br />
Ghent University. At the same time, he is f<strong>in</strong>ish<strong>in</strong>g his Ph.D. <strong>in</strong> epic<br />
theory and narratology <strong>in</strong> the study of premodern historiographical<br />
texts, specifically Nestor-Isk<strong>in</strong>der’s medieval Russian Tale on the<br />
Tak<strong>in</strong>g of Constant<strong>in</strong>ople. His publications ma<strong>in</strong>ly deal with ‘siege<br />
narratives’ (their plots, chronotopes, representation of sieges <strong>in</strong> comics,<br />
etc.) and narrativity <strong>in</strong> comics.<br />
› Googl<strong>in</strong>g ‘Vice-President Ford’ and the ‘Keene Act’: The discovery of<br />
Watchmen’s uchronical universe, twenty years after publication, Studies <strong>in</strong><br />
Comics, 2.1, 159-175.<br />
In 2009 Dunja Dogo f<strong>in</strong>ished her Ph.D. at the University of Siena<br />
(Department of Modern Literature and Sciences of Languages), with a<br />
thesis entitled Icons of Martyrs and Fighters. Survival and<br />
Metamorphosis of Sacredness <strong>in</strong> Russian Propaganda Posters and<br />
Films Before and After 1917. Her areas of <strong>in</strong>terests <strong>in</strong>clude the history<br />
of the Russian revolutions, cultural history of Soviet Russia (i.e.<br />
propaganda methods, collective memory, representation of history <strong>in</strong><br />
film and posters of the 1920s and 1930s) and the symbology of the<br />
Russian and European socialist parties.<br />
› Sacredness <strong>in</strong> Russian SocialistIconography before and after 1917.Invention<br />
of a new revolutionarytradition, start<strong>in</strong>g from the old one, The Poster, 1.2,<br />
141-165.
Margaret Dol<strong>in</strong>sky<br />
HR Hope School of F<strong>in</strong>e <strong>Arts</strong> Indiana<br />
University, 1201 E. 7th St. Room 123,<br />
Bloom<strong>in</strong>gton, IN, United States of<br />
America<br />
Keywords perceptual shift, digital<br />
pa<strong>in</strong>t<strong>in</strong>g, projection, light,<br />
imag<strong>in</strong>ation<br />
Simon Downs<br />
Loughborough University, The<br />
School of Art, Loughborough, LE11<br />
3TU, United K<strong>in</strong>gdom<br />
Keywords illustration, graphics,<br />
culture, animation<br />
Kar<strong>in</strong> Drda-Kühn<br />
Vertikult, Schleiermacherstraße 8,<br />
Darmstadt, D-64283, Germany<br />
Keywords network development,<br />
creative networks, regional<br />
Margaret Dol<strong>in</strong>sky creates <strong>in</strong>teractive art for high-speed networks and<br />
collaborative art experiences for the CAVE Automated Virtual<br />
Environment. Her recent work <strong>in</strong>volves digital projections for opera<br />
and experimental film. Her <strong>research</strong> focuses on how digital art<br />
provokes shifts <strong>in</strong> perception and enhances sensory awareness.<br />
Exhibitions <strong>in</strong>clude SIGGRAPH, Ars Electronica, ICC, and the Walker<br />
Art Center. Her work is published <strong>in</strong> Leonardo, Discover, Computer<br />
Graphics World, US 64 Margaret Dol<strong>in</strong>sky News and World Report<br />
and ACM’s Computer Graphics. She received an MFA from<br />
University of Ill<strong>in</strong>ois at Chicago. She is an Associate Professor and<br />
Research Scientist at the H.R. Hope School of F<strong>in</strong>e <strong>Arts</strong> at Indiana<br />
University Bloom<strong>in</strong>gton and a <strong>research</strong>er with the Planetary Collegium<br />
at the University of Plymouth, United K<strong>in</strong>gdom.<br />
› Transformative navigation: energiz<strong>in</strong>g imagery for perceptual shifts,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.1, 49-64.<br />
Simon Downs is Lecturer <strong>in</strong> Graphic Communication at Loughborough<br />
University. Simon tra<strong>in</strong>ed as a classical pa<strong>in</strong>ter and worked as a<br />
draughtsman illustrator before computer aided design moved his<br />
practice <strong>in</strong>to animation, <strong>in</strong>teraction design, graphics and many other<br />
fields of communication design. He worked as a designer and<br />
illustrator for 15 years; work<strong>in</strong>g as a freelancer, a contractor and<br />
consultant for various banks and publish<strong>in</strong>g houses. He is a Fellow of<br />
the Higher Education Academy, an H.E.A. Reviewer, and Member of<br />
the Design Research Society (and their S.I.G. on Design Pedagogy).<br />
Simon's <strong>research</strong> is built around the questions of: how culture is formed<br />
and so operates; how graphics is formed by and contributes to these<br />
operations and how we can tell if a graphic <strong>in</strong>tervention is work<strong>in</strong>g.<br />
› Editorial, The Poster, 1.1, 3-6.<br />
› Reviews, The Poster, 1.1, 121-128.<br />
› A loud, preposterous moral crusade, The Poster, 1.2, 135-140.<br />
Kar<strong>in</strong> Drda-Kühn has a Ph.D. (1989) and an MA (1987) from the<br />
University of Darmstadt (Germany) <strong>in</strong> Art History and German and<br />
English Language and Literature Studies. S<strong>in</strong>ce 2006, she has been the<br />
Manag<strong>in</strong>g Director of Association Culture and Work (www.kultur-undarbeit.de)<br />
and a member of numerous cultural economy committees.<br />
Her responsibilities <strong>in</strong> the Association are <strong>research</strong> and application<br />
projects <strong>in</strong> cultural economy and culture tourism, policy development,
development, cultural economy and operation of the portal www.vertikult.de, an employment and<br />
service platform for cultural workers.<br />
L<strong>in</strong>da Drew<br />
The Glasgow School of Art, Deputy<br />
Director & Director of Academic<br />
Development, 167 Renfrew Street,<br />
Glasgow, G3 6RQ, United K<strong>in</strong>gdom<br />
Keywords qualitative variation,<br />
<strong>research</strong>, design projects, visual<br />
reproduc<strong>in</strong>g, conceptual responses,<br />
doctoral supervision<br />
› From culture to cultural economic power: Rural regional development <strong>in</strong><br />
small German communities, Creative Industries Journal, 3.1, 89-96.<br />
L<strong>in</strong>da Drew, Ph.D., is an education and arts leader <strong>who</strong> contributes to<br />
improvements <strong>in</strong> the quality of learn<strong>in</strong>g and teach<strong>in</strong>g both with<strong>in</strong> the<br />
UK and <strong>in</strong>ternationally. Us<strong>in</strong>g creative and collaborative approaches to<br />
lead and engage academic and support staff, students and related<br />
stakeholders through significant change with<strong>in</strong> s<strong>in</strong>gle or multiple<br />
environments, has built a reputation for publication and lead<strong>in</strong>g<br />
<strong>research</strong> <strong>in</strong> pedagogy, design and creative practice. Prof. Drew has<br />
practised as a consultant for change management <strong>in</strong> Art and Design<br />
Higher Education and was previously Dean of the Graduate School for<br />
Camberwell College of <strong>Arts</strong>, Chelsea College of Art and Design and<br />
Wimbledon College of Art at the University of the <strong>Arts</strong> London<br />
(UAL). Prof. Drew also held the position of Head of College at Chelsea<br />
College of Art and Design (UAL, act<strong>in</strong>g 2006-2007). Before jo<strong>in</strong><strong>in</strong>g<br />
the University of the <strong>Arts</strong> as Dean of Academic Development <strong>in</strong><br />
2003,Art, Design and Communication <strong>in</strong> Higher Education<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 1.2, 68-68.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 1.3, 132-132.<br />
› Students’ approaches to the ‘<strong>research</strong>’ component <strong>in</strong> the fashion design<br />
project: Variation <strong>in</strong> students’ experience of the <strong>research</strong> process, Art, Design<br />
& Communication <strong>in</strong> Higher Education, 2.3, 113-130.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 2.1, 6-6.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 3.1, 3-4.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 5.1, 3-4.<br />
› Art, Design and Communication <strong>in</strong> Higher Education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 6.2, 113-116.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 7.1, 3-3.<br />
› ADCHE Editor reflects on Editorial Board and its role, purpose and future,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 7.2, 57-57.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 8.1, 5-8.<br />
› ADCHE Editor and Associate Editor: a real-life scenario of reflection <strong>in</strong><br />
action, Art, Design & Communication <strong>in</strong> Higher Education, 9.1, 3-4.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 9.2, 107-110.
Jim Drobnick<br />
Keywords<br />
Johanna Drucker<br />
Keywords visual poetry, book art,<br />
philosophy, photography<br />
Andrew Dubber<br />
Birm<strong>in</strong>gham City University,<br />
Birm<strong>in</strong>gham Centre for Media and<br />
Cultural Research, Birm<strong>in</strong>gham City<br />
University, City North Campus, Perry<br />
Barr B42 2SU, Birm<strong>in</strong>gham, West<br />
Midlands, UK<br />
Keywords radio teach<strong>in</strong>g, critical<br />
listen<strong>in</strong>g skills, vocationalism, student<br />
broadcast<strong>in</strong>g, New Zealand, Internet,<br />
digital culture, music <strong>in</strong>dustry<br />
Piotr Dumala<br />
Poland<br />
Keywords animation, film, The<br />
Forest, Crime and Punishment<br />
› EDITORIAL, Journal of Curatorial Studies, 1.1, 3-4.<br />
Johanna Drucker is Breslauer Professor of Bibliographical Studies at<br />
UCLA. She has published extensively on the history of written forms,<br />
typography, design, contemporary art and visual poetics. Her most<br />
recent titles <strong>in</strong>clude Sweet Dreams: Contemporary Art and Complicity<br />
(University of Chicago Press, 2005), Graphic Design History: A<br />
Critical Guide (with Emily McVarish, Pearson, 2009) and<br />
SpecLab:Digital Aesthetics and Speculative Comput<strong>in</strong>g (University of<br />
Chicago Press, 2009). In addition to her scholarly work, Drucker is<br />
<strong>in</strong>ternationally known as a book artist and experimental, visual poet.<br />
› Temporal photography, Philosophy of Photography, 1.1, 22-28.<br />
Andrew Dubber is Reader <strong>in</strong> Music Industries Innovation at<br />
Birm<strong>in</strong>gham City University. He is a member of the Birm<strong>in</strong>gham<br />
Centre for Media and Cultural Research and is part of a HERA<br />
European Jazz <strong>research</strong> project called Rhythm Changes. Dubber's<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude digital media cultures, onl<strong>in</strong>e music<br />
enterprise, cultural learn<strong>in</strong>g, radio <strong>in</strong> the digital age, music as a tool for<br />
social change and music as culture.<br />
› Monkey on the Roof: Research<strong>in</strong>g creative practice, music consumption,<br />
social change and the onl<strong>in</strong>e environment, Creative Industries Journal, 4.1,<br />
19-31.<br />
Piotr Dumala is a Polish film director, writer, and animator. His most<br />
well-known films are The Forest and Crime and Punishment, which<br />
was <strong>in</strong>cluded <strong>in</strong> the Acme Filmworks Animation Show of Shows. He is<br />
known to implement a technique known as 'destructive animation', <strong>in</strong><br />
which the creation of one frame requires the erasure of another. His<br />
article for Animation discusses how live-action directors, <strong>in</strong> particular<br />
Ingmar Bergman, <strong>in</strong>fluence his work.
Paul Duncum<br />
School of Art and Design, 143 Art<br />
and Design Build<strong>in</strong>g, Urbana-<br />
Champaign, Ill<strong>in</strong>ois, IL 61820,<br />
United States of America<br />
Keywords embodiment, visual<br />
culture, popular culture, modernism,<br />
post-critical<br />
Alan Dunn<br />
Leeds Metropolitan University,<br />
Broadcast<strong>in</strong>g Place, Woodhouse<br />
Lane, Leeds, LS1 3HE, United<br />
K<strong>in</strong>gdom<br />
Keywords contemporary art, public<br />
art, public spaces<br />
David Durl<strong>in</strong>g<br />
Birm<strong>in</strong>gham City University,<br />
Birm<strong>in</strong>gham Institute of Art and<br />
Design, Gosta Green, Birm<strong>in</strong>gham,<br />
B4 7DX, United K<strong>in</strong>gdom<br />
› Out of the trees and <strong>in</strong>to The Forest – a consideration of live action and<br />
animation, Animation Practice, Process & Production, 1.1, 33-50.<br />
Paul Duncum is an associate professor of Art Education at the<br />
University of Ill<strong>in</strong>ois, Urbana Champaign. He has published<br />
extensively on popular visual culture, the aesthetics of the everyday,<br />
and children’s unsolicited draw<strong>in</strong>gs and is co-editor of On Know<strong>in</strong>g:<br />
Art and Visual Culture published by Canterbury University Press.<br />
› Visual culture and an aesthetics of embodiment, International Journal of<br />
Education through Art, 1.1, 9-20.<br />
› Th<strong>in</strong>k<strong>in</strong>g critically about critical th<strong>in</strong>k<strong>in</strong>g: towards a post-critical, dialogic<br />
pedagogy for popular visual culture, International Journal of Education<br />
through Art, 4.3, 247-257.<br />
Alan Dunn is presently Associate Senior Lecturer <strong>in</strong> Contemporary Art<br />
at Leeds Metropolitan University. He was born <strong>in</strong> Glasgow <strong>in</strong> 1967 and<br />
studied at Glasgow School of Art and The Art Institute of Chicago,<br />
graduat<strong>in</strong>g with a Masters Degree <strong>in</strong> 1991. Between 2001 and 2007 he<br />
was Lead Artist on the <strong>in</strong>ternationally recognized Internet TV project<br />
‘tenantsp<strong>in</strong>’, collaborat<strong>in</strong>g with city-wide elderly high-rise tenants and<br />
national regeneration agencies. He has developed and distributed<br />
collaborative content with Philip Jeck, Mike McCartney, Marcel<br />
Duchamp, Fiona Banner, Chris Watson, Gerhard Richter, Foreign<br />
Investment, Agnes Mart<strong>in</strong>, John Cage, Lydia Lunch, The Big Issue,<br />
Bill Drummond, Will Self and BBC Radio 3.<br />
› Generous, but no’ social (twentyyear voyage beyond the bath-tub), The<br />
Poster, 1.2, 193-213.<br />
David Durl<strong>in</strong>g is Professor and Associate Dean (Research) <strong>in</strong> the<br />
Birm<strong>in</strong>gham Institute of Art and Design, Birm<strong>in</strong>gham City University,<br />
UK. His education was <strong>in</strong> furniture and <strong>in</strong>dustrial design, with a Ph.D.<br />
<strong>in</strong> design education. He has practised design <strong>in</strong> various fields <strong>in</strong>clud<strong>in</strong>g<br />
furniture, <strong>in</strong>teriors, product design and design management. For a<br />
decade he ran a design consultancy specialis<strong>in</strong>g <strong>in</strong> science laboratory<br />
plann<strong>in</strong>g and equipment. His <strong>research</strong> <strong>in</strong>terests range across doctoral
Keywords design <strong>research</strong>, <strong>research</strong><br />
management, peer review<br />
Steve Dutton<br />
Keywords <strong>in</strong>stallation/performance,<br />
text/image <strong>in</strong>stitute, performative,<br />
animal, encounter<br />
Jochen Ecke<br />
Johannes Gutenberg University,<br />
British Studies, Jakob-Welder-Weg<br />
18, 55128 Ma<strong>in</strong>z, Germany<br />
Keywords literature, time and space,<br />
Alan Moore, graphic novels<br />
Ann-Mari Edström<br />
Malmö University, Teacher<br />
studies, creativity and its l<strong>in</strong>ks with personality, education, and<br />
<strong>research</strong> methods tra<strong>in</strong><strong>in</strong>g. He has held several professional positions.<br />
› Guest Editorial – Best practices <strong>in</strong> Ph.D. education <strong>in</strong> design, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 1.3, 133-140.<br />
Steve Dutton works as an artist both collaboratively and <strong>in</strong>dividually.<br />
His projects have been exhibited throughout the United K<strong>in</strong>gdom and<br />
<strong>in</strong>ternationally; <strong>in</strong> Txtrapolis at NAFA <strong>in</strong> S<strong>in</strong>gapore; Kookm<strong>in</strong> Gallery<br />
<strong>in</strong> Seoul, Text + Work <strong>in</strong> Poole, United K<strong>in</strong>gdom; CAFKA <strong>in</strong><br />
Kitchener, Ontario; Mercer Union Centre for Contemporary Art <strong>in</strong><br />
Toronto and Sheppard F<strong>in</strong>e <strong>Arts</strong>, Reno. Artwords press has recently<br />
published Mislead<strong>in</strong>g Epiphenomena, a collaboration between Dutton,<br />
Sw<strong>in</strong>dells and architectural theorist, Barbara Penner. He is Professor <strong>in</strong><br />
Creative Practice at Coventry School of Art and Design.<br />
› Apocotropes Dutton and Peacock The Dog and Duck Dutton and Sw<strong>in</strong>dells,<br />
Journal of Visual Art Practice, 6.3, 251-256.<br />
› Writ<strong>in</strong>g Encounters: ‘Institute of Beasts’ (2008), Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 2.1, 117-125.<br />
Jochen Ecke teaches English literature at the Johannes Gutenberg<br />
University, Ma<strong>in</strong>z, Germany. He has written his master’s thesis on<br />
concepts of time and space <strong>in</strong> Alan Moore’s later works and is<br />
currently prepar<strong>in</strong>g his doctoral thesis on British comics of the 1980s.<br />
In addition to co-edit<strong>in</strong>g Comics as a Nexus of Cultures (McFarland,<br />
2010), he has done extensive work <strong>in</strong> the German comics <strong>in</strong>dustry,<br />
serv<strong>in</strong>g as German editor and occasional translator on works by Ed<br />
Brubaker, Greg Rucka and Alan Moore.<br />
› ‘Solve and coagula’: Alan Moore and the classical comic book’s spatial and<br />
temporal systems, Studies <strong>in</strong> Comics, 2.1, 105-119.<br />
Ann-Mari Edström received her Ph.D. <strong>in</strong> September 2008 at the<br />
Department of Education at Lund University <strong>in</strong> Sweden. Her <strong>research</strong><br />
focuses on learn<strong>in</strong>g <strong>in</strong> visual art practice <strong>in</strong> higher education from a<br />
student perspective. The article published <strong>in</strong> Art, Design &
Education, Dept of Culture, Language<br />
& Media, Malmö, 20506, Sweden<br />
Keywords higher education,<br />
phenomenography, studio art,<br />
supervision, visual art practice<br />
Harriet Edwards<br />
Royal College of <strong>Arts</strong>, Kens<strong>in</strong>gton<br />
Gore, London, SW7 2EU, United<br />
K<strong>in</strong>gdom<br />
Keywords reflective practice,<br />
dyslexia, mature students,<br />
<strong>in</strong>ternational students, learn<strong>in</strong>g styles<br />
Communication <strong>in</strong> Higher Education 7(1) 'Art Students Mak<strong>in</strong>g Use of<br />
Studio Conversations', discusses f<strong>in</strong>d<strong>in</strong>gs from the empirical<br />
<strong>in</strong>vestigation of MFA students’ learn<strong>in</strong>g experiences, which was also<br />
the subject of her thesis 'Learn<strong>in</strong>g <strong>in</strong> Visual Art Practice'. She is a<br />
lecturer at Malmö University, Sweden and her current <strong>research</strong> project<br />
embraces higher education <strong>in</strong> visual art practice with<strong>in</strong> the Nordic as<br />
well as the Baltic countries. Prior to her doctoral studies, the author<br />
was active as a glass artist and taught at preparatory art school level.<br />
She received a Master of F<strong>in</strong>e Art at the University College of Art,<br />
Crafts and Design, Stockholm <strong>in</strong> 1988.<br />
› Art students mak<strong>in</strong>g use of studio conversations, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 7.1, 31-44.<br />
Harriet Edwards is the English for Academic Purposes Coord<strong>in</strong>ator at<br />
the Royal College of Art. Her work deals with <strong>in</strong>ternational students as<br />
well as with writ<strong>in</strong>g development at M.A. and Research level, and the<br />
co-runn<strong>in</strong>g of a new creative writ<strong>in</strong>g <strong>in</strong>itiative at the college. She was a<br />
project team member of Writ<strong>in</strong>g PAD and is now assistant editor for its<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice (<strong>Intellect</strong>). In April 2007, she<br />
began a Ph.D. that is explor<strong>in</strong>g how contemporary design processes<br />
might impact Higher Education writ<strong>in</strong>g culture. The <strong>research</strong> project is<br />
based <strong>in</strong> the Landscape, Architecture and Design School at Leeds<br />
Metropolitan University.<br />
› Writ<strong>in</strong>g Purposefully <strong>in</strong> Art and Design (Writ<strong>in</strong>g PAD), Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 89-102.<br />
› Art and design students employ<strong>in</strong>g aspects of the visual and metaphoric to<br />
structure and create mean<strong>in</strong>g <strong>in</strong> writ<strong>in</strong>g. An <strong>in</strong>sight from the MA<br />
dissertation-writ<strong>in</strong>g Intranet site at the Royal College of Art, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 119-.<br />
› Design <strong>research</strong> by practice: modes of writ<strong>in</strong>g <strong>in</strong> a recent Ph.D. from the<br />
RCA, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 53-68.<br />
› Reviews, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.3, 317-321.<br />
› Reviews:Inspir<strong>in</strong>g Writ<strong>in</strong>g <strong>in</strong> Art and Design: Tak<strong>in</strong>g a L<strong>in</strong>e for a Write, Pat<br />
Francis (2009), Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.2, 254-.<br />
› Reviews, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 359-365.<br />
› Reviews, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.2, 171-180.<br />
› Writ<strong>in</strong>g experiments with a lateral lean<strong>in</strong>g, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 3.3, 211-225.
Buthayna Eilouti<br />
Pr<strong>in</strong>ce Sultan University College for<br />
Women, Interior Design Department,<br />
P.O. Box 53073, Riyadh 11586, Saudi<br />
Arabia<br />
Keywords architectural design<br />
education, dynamic design,<br />
responsive architecture, digital studio,<br />
collaborative design pictorial<br />
representation diagram<br />
Elisabeth El Refaie<br />
Cardiff University, School of English,<br />
Communication and Philosophy,<br />
Humanities Build<strong>in</strong>g, Colum Drive,<br />
Cardiff, CF10 3EU, United K<strong>in</strong>gdom<br />
Keywords metaphor, memory,<br />
comics, autobiography<br />
Chad Elias<br />
University of York<br />
Keywords<br />
Buthayna Eilouti is associate professor of Architecture and chair of<br />
Interior design department <strong>in</strong> Pr<strong>in</strong>ce Sultan University <strong>in</strong> KSA. She<br />
earned a Ph.D., M.Sc. and M.Arch. <strong>in</strong> Architecture from University of<br />
Michigan, Ann Arbor, United States. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude:<br />
computer applications <strong>in</strong> architecture, design programm<strong>in</strong>g, design<br />
studies, methods and pedagogy, visual studies, shape grammar, Islamic<br />
architecture, <strong>in</strong>telligent build<strong>in</strong>gs and <strong>in</strong>formation visualization.<br />
› A problem-based learn<strong>in</strong>g project for computer-supported architectural<br />
design pedagogy, Art, Design & Communication <strong>in</strong> Higher Education, 5.3,<br />
197-212.<br />
› A spatial development of a str<strong>in</strong>g process<strong>in</strong>g tool for encod<strong>in</strong>g architectural<br />
design process<strong>in</strong>g, Art, Design & Communication <strong>in</strong> Higher Education, 6.1,<br />
57-74.<br />
Elisabeth El Refaie works at the Centre for Language and<br />
Communication, Cardiff University, where she teaches undergraduate<br />
and postgraduate modules on various aspects of <strong>in</strong>terpersonal and<br />
media communication. The focus of her <strong>research</strong> is on new literacies<br />
and visual/multimodal forms of metaphor, narrative and humour. A<br />
recently completed British Academy-funded <strong>research</strong> project, Editorial<br />
Cartoons and Geopolitical Perceptions, conducted <strong>in</strong> collaboration with<br />
Kathr<strong>in</strong> Hörschelmann from Durham University, explored young<br />
British people’s <strong>in</strong>terpretations of newspaper cartoons. Her work has<br />
appeared <strong>in</strong> several edited volumes and <strong>in</strong> a wide range of scholarly<br />
journals, <strong>in</strong>clud<strong>in</strong>g the Journal of Pragmatics, and the Journal of<br />
Sociol<strong>in</strong>guistics, Visual Communication, and Discourse: Studies <strong>in</strong> the<br />
Cultural Politics of Education. She is currently writ<strong>in</strong>g a book on<br />
autobiographical comics, to be published with the University Press of<br />
Mississippi.<br />
› Subjective time <strong>in</strong> David B.'s graphic memoir Epileptic, Studies <strong>in</strong> Comics,<br />
1.2, 281-299.<br />
Chad Elias is a lecturer <strong>in</strong> the History of Art at the University of York,<br />
UK. A recent graduate of Northwestern University's Ph.D. programme<br />
<strong>in</strong> Art History, Elias's <strong>research</strong> focuses on the politics of documentary<br />
and archival practices <strong>in</strong> contemporary art, particularly as they relate to<br />
the obstruction and movement of images <strong>in</strong> territories shaped by war.<br />
› Book Reviews, International Journal of Islamic Architecture, 1.1, 151-168.
James Elk<strong>in</strong>s<br />
Department of Art History, Theory,<br />
and Criticism, Department of Visual<br />
and Critical Studies, School of the Art<br />
Institute of Chicago, 112 South<br />
Michigan Avenue, Chicago, IL,<br />
60603, United States of America<br />
Keywords modern pa<strong>in</strong>t<strong>in</strong>g,<br />
modernism, aesthetic, Len<strong>in</strong>grad,<br />
mar<strong>in</strong>e<br />
Jennifer Elsden-Clifton<br />
RMIT University, School of<br />
Education, PO Box 71, Bundoora<br />
3083, Victoria, Australia<br />
Keywords fem<strong>in</strong>ist poststructuralism,<br />
transformation,<br />
subjectivity, students’ art<br />
John Elsom<br />
<strong>Arts</strong> Interl<strong>in</strong>k<br />
Keywords arts management, Ch<strong>in</strong>ese<br />
creative <strong>in</strong>dustries, modernity<br />
Lewis Elton<br />
Keywords change, creativity,<br />
enquiry-based learn<strong>in</strong>g, quality<br />
James Elk<strong>in</strong>s is a Professor at the School of the Art Institute of<br />
Chicago. His writ<strong>in</strong>g focuses on the history and theory of images <strong>in</strong> art,<br />
science, and nature. Some of his books are exclusively on f<strong>in</strong>e art<br />
(What Pa<strong>in</strong>t<strong>in</strong>g Is, Why Are Our Pictures Puzzles?). Others <strong>in</strong>clude<br />
scientific and non-art images and archaeology (The Doma<strong>in</strong> of Images,<br />
On Pictures and the Words That Fail Them), and some <strong>in</strong>clude natural<br />
history as well (How to Use Your Eyes).<br />
› Two forms of judgement: forgiv<strong>in</strong>g and demand<strong>in</strong>g, Journal of Visual Art<br />
Practice, 3.1, 37-46.<br />
Jennifer Elsden-Clifton is a student <strong>in</strong> the Faculty of Information and<br />
Communication at Central Queensland University, Australia. She<br />
recently submitted a doctoral thesis which explored the transformative<br />
potential of art education. Her other areas of <strong>in</strong>terest are cultural<br />
studies, sexuality and gender studies.<br />
› Negotiat<strong>in</strong>g transformative waters: students explor<strong>in</strong>g their subjectivity <strong>in</strong><br />
art, International Journal of Education through Art, 1.1, 43-52.<br />
Dr. John Elsom is the director of <strong>Arts</strong> Interl<strong>in</strong>k, the <strong>in</strong>ternational arts<br />
management consultancy and was the 2008 w<strong>in</strong>ner of the Award of<br />
International Outstand<strong>in</strong>g Contribution to the Creative Industry of<br />
Ch<strong>in</strong>a. His latest book, Miss<strong>in</strong>g the Po<strong>in</strong>t: The Rise of High Modernity<br />
and the Decl<strong>in</strong>e of Everyth<strong>in</strong>g Else, was published by The Lutterworth<br />
Press <strong>in</strong> 2007.<br />
› Copyright <strong>in</strong> a digital age, Creative Industries Journal, 1.3, 283-289.<br />
Lewis Elton is Visit<strong>in</strong>g Professor of Higher Education, University of<br />
Manchester; Honorary Professor of Higher Education, University<br />
College London and Professor Emeritus of Higher Education and<br />
Visit<strong>in</strong>g Dist<strong>in</strong>guished Scholar, University of Surrey. He is a Fellow of<br />
the American Institute of Physics and of the Society for Research <strong>in</strong>to<br />
Higher Education. His most recent work has been concerned with the
culturecomplexity theory, purposeless<br />
collaboration<br />
Cather<strong>in</strong>e Elwes<br />
University of the <strong>Arts</strong> London<br />
Keywords<br />
Mathew Emmett<br />
Estranged Space<br />
Keywords<br />
scholarship of teach<strong>in</strong>g and learn<strong>in</strong>g, <strong>in</strong>clud<strong>in</strong>g the <strong>research</strong>/teach<strong>in</strong>g<br />
nexus <strong>in</strong> higher education and the balance between collegial and ‘top<br />
down’ management <strong>in</strong> universities.<br />
› Assess<strong>in</strong>g creativity <strong>in</strong> an unhelpful climate, Art, Design & Communication<br />
<strong>in</strong> Higher Education, 5.2, 119-130.<br />
› Complexity, Universities and the <strong>Arts</strong>, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 1.3, 205-209.<br />
Cather<strong>in</strong>e Elwes is Professor of Mov<strong>in</strong>g Image Art at CCW Graduate<br />
School, University of the <strong>Arts</strong> London.<br />
› Peter Campus: Opticks, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1,<br />
107-110.<br />
Mathew Emmett, AADipl B.Sc. (UCL) is an Architect, academic and<br />
conceptual artist, <strong>who</strong> questions mediated-realities and mnemonic<br />
structures by explor<strong>in</strong>g multidimensional total environments. Emmett<br />
is the co-founder of transdiscipl<strong>in</strong>ary <strong>research</strong> group 'Estranged Space',<br />
and currently holds an artist residency at the Roman Baths at Bath.<br />
Emmett has co-directed <strong>in</strong>ternational summer schools <strong>in</strong> Detmold,<br />
Germany and has lectured at Technische Universiteit, E<strong>in</strong>dhoven. In<br />
2007, Emmett received a <strong>research</strong> grant to attend the Karlhe<strong>in</strong>z<br />
Stockhausen Composition and Interpretation Course, Kuerten,<br />
Germany, for the analysis of compositional strategies of 'Licht-Bilder',<br />
to formulate a system for <strong>in</strong>terpret<strong>in</strong>g sound as a spatial concept for<br />
architecture. Throughout his career Emmett has received many awards<br />
for collaborations, <strong>in</strong>clud<strong>in</strong>g with Kaos Theatre and World Heritage<br />
Project. Recent publications <strong>in</strong>clude Space Craft - Developments <strong>in</strong><br />
Architectural Comput<strong>in</strong>g, Architectural Voices, Listen<strong>in</strong>g to Old<br />
Build<strong>in</strong>gs and Architects' Sketchbook.<br />
› Bunker auscultation: A classification system for a proto-method of sensory<br />
space composition, Design Ecologies, 1.2, 287-303.<br />
Astrid Enssl<strong>in</strong> Astrid Enssl<strong>in</strong> is Senior Lecturer <strong>in</strong> Digital Humanities at Bangor<br />
University. Her ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> the fields of digital
University of Bangor, School of<br />
Creative Studies and Media, College<br />
Road, Bangor, Gwynedd, LL57 2DG,<br />
United K<strong>in</strong>gdom<br />
Keywords digital literature and<br />
theory, video games, communication<br />
Mavis Enti<br />
Kwame Nkrumah University of<br />
Science and Technology, General Art<br />
Studies, College of Art, PO Box FN<br />
743, c/o Department of General Art<br />
Studies (Art Education), KNUST,<br />
Kumasi, Kumasi, 233, Ghana<br />
Keywords child art, Ghana,<br />
creativity, aesthetics, education<br />
Suzan Duygu Eristi<br />
Anadolu University, Faculty of<br />
Education, Department of Computer<br />
Education and Instructional<br />
Technologies, Eskisehir, 26470,<br />
Turkey<br />
Keywords <strong>in</strong>teractive art education,<br />
technology, cultural awareness<br />
literature and theory, video games and ludology, discourse analysis,<br />
semiotics and communication. She has a BA/MA from Tueb<strong>in</strong>gen<br />
University (2002), a Postgraduate Teach<strong>in</strong>g Certificate from Leeds<br />
University and a Ph.D. from Heidelberg University (2006). She is<br />
found<strong>in</strong>g editor of <strong>Intellect</strong>'s Journal of Gam<strong>in</strong>g and Virtual Worlds.<br />
› Women <strong>in</strong> Games 2007: new platforms,new perspectives, new<br />
players:University of Wales, Newport, School of Art, Media and Design, 19–<br />
21 April 2007.Conference report, Creative Industries Journal, 1.1, 77-78.<br />
Dr. Mavis Enti holds a BA degree <strong>in</strong> Art (Pa<strong>in</strong>t<strong>in</strong>g) from the Kwame<br />
Nkrumah University of Science and Technology (KNUST), Ghana and<br />
a Ph.D. <strong>in</strong> Art Education from the same <strong>in</strong>stitution. Her Ph.D.<br />
dissertation centred on Art Therapy and Child Psychology; which are<br />
her areas of specialization. Currently, she is a Lecturer at the<br />
Department of General Art Studies (Art Education), KNUST and also a<br />
consultant <strong>in</strong> psychology at OAA Consult, Ghana. Her <strong>research</strong><br />
<strong>in</strong>terests are child psychology, art therapy, guidance and counsell<strong>in</strong>g,<br />
aesthetics and criticism and <strong>research</strong> methodology.<br />
› Enhanc<strong>in</strong>g children’s learn<strong>in</strong>g: the art perspective, International Journal of<br />
Education through Art, 5.2&3, 143-155.<br />
Suzan Duygu Eristi is Assistant Professor <strong>in</strong> the Department of<br />
Computer Education and Instructional Technologies at Anadolu<br />
University, Turkey. She has MA and Ph.D. degrees <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong><br />
Education focus<strong>in</strong>g on computer-assisted art education, design and<br />
<strong>in</strong>struction. She lists her <strong>research</strong> <strong>in</strong>terests as technology-assisted art<br />
education, cultural studies, digital storytell<strong>in</strong>g, qualitative <strong>research</strong><br />
methods <strong>in</strong> art education, multicultural art education, graphic design,<br />
<strong>in</strong>teractive <strong>in</strong>struction and <strong>in</strong>structional design.<br />
› Us<strong>in</strong>g an <strong>in</strong>teractive art education application to promote cultural awareness:<br />
a case study from Turkey, International Journal of Education through Art,<br />
5.2&3, 241-256.<br />
Robert A. Erlew<strong>in</strong>e Robert Erlew<strong>in</strong>e is an Assistant Professor <strong>in</strong> the Religion Department
Ill<strong>in</strong>ois Wesleyan University, 1312<br />
Park Street, Bloom<strong>in</strong>gton, IL, 61701,<br />
United States of America<br />
Keywords religion, Christianity,<br />
Judaism, post-Christianity,<br />
philosophy, theology<br />
Jale Erzen<br />
Middle East Technical University,<br />
Faculty of Architecture, Inonu<br />
Bulvari, Ankara, 6531, Turkey<br />
Keywords perception, environment,<br />
sensory, experimental, the body<br />
Mark Evans<br />
Coventry University, Perform<strong>in</strong>g <strong>Arts</strong><br />
Department, Priory Street, Coventry,<br />
West Midlands, CV1 5FB, United<br />
K<strong>in</strong>gdom<br />
Keywords reflective practice,<br />
creative writ<strong>in</strong>g, perform<strong>in</strong>g arts,<br />
assessment task<br />
at Ill<strong>in</strong>ois Wesleyan University. He holds graduate degrees from<br />
Boston College (M.A. <strong>in</strong> Philosophy) and Rice University (Ph.D <strong>in</strong><br />
Religious Studies.) His <strong>research</strong> is primarily <strong>in</strong> the field of modern<br />
and post-modern religious thought, especially its Jewish, Christian<br />
and post-Christian varieties, particularly <strong>in</strong> regard to philosophical<br />
and theological accounts of tolerance and pluralism.<br />
› When the Bl<strong>in</strong>d Speak of Colour: narrative, ethics and stories of the Shoah,<br />
Journal of Visual Art Practice, 1.1, 25-36.<br />
Jale Nejdet Erzen studied pa<strong>in</strong>t<strong>in</strong>g at the Art Center College of Design<br />
<strong>in</strong> Los Angeles from 1968 to 1974. She received her Ph.D. <strong>in</strong><br />
Architectural History (focus<strong>in</strong>g on the Ottoman architect S<strong>in</strong>an) from<br />
the Technical University of Istanbul <strong>in</strong> 1982. From 1981 to 1984 she<br />
worked as editor of the f<strong>in</strong>e arts journal BOYUT. S<strong>in</strong>ce 1991 she has<br />
acted as the president of the SANART Association of Aesthetics and<br />
Visual Culture <strong>in</strong> Turkey and has organized <strong>in</strong>ternational symposia.<br />
Between 1995 and 1998 she was secretary-general of the International<br />
Association of Aesthetics. She has pa<strong>in</strong>t<strong>in</strong>gs <strong>in</strong> public and private<br />
collections <strong>in</strong> Turkey and <strong>in</strong> private collections <strong>in</strong> Europe and the<br />
United States of America. She is a Professor <strong>in</strong> the Faculty of<br />
Architecture, Middle East Technical University, Ankara, Turkey. Her<br />
publications concern environmental aesthetics, aesthetics,<br />
contemporary art, Ottoman architecture and Turkish artists.<br />
› An ecological approach to art education: environmental aesthetics,<br />
International Journal of Education through Art, 1.2, 179-.<br />
Mark Evans is Head of the Perform<strong>in</strong>g <strong>Arts</strong> Department at Coventry<br />
University. He has written and <strong>research</strong>ed around movement tra<strong>in</strong><strong>in</strong>g<br />
for actors, improvisation and performance, physical theatre, creative<br />
enterprise education and reflective professional practice. His book on<br />
the early twentieth-century French theatre director, Jacques Copeau,<br />
was published by Routledge <strong>in</strong> 2006, and he is now work<strong>in</strong>g on a<br />
critical analysis of movement tra<strong>in</strong><strong>in</strong>g practice for the modern actor.<br />
› Another k<strong>in</strong>d of writ<strong>in</strong>g: reflective practice and creative journals <strong>in</strong> the<br />
perform<strong>in</strong>g arts, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 69-76.
Kate Evans<br />
Scarborough Psychotherapy Tra<strong>in</strong><strong>in</strong>g<br />
Institute, 117 Columbus Rav<strong>in</strong>e,<br />
Scarborough, YO12 7QU, United<br />
K<strong>in</strong>gdom<br />
Keywords creativity,, creative writ<strong>in</strong>g<br />
therapeutic writ<strong>in</strong>g, free writ<strong>in</strong>g,<br />
writerly self, mental well-be<strong>in</strong>g,<br />
depression<br />
Stephen Farth<strong>in</strong>g<br />
Rootste<strong>in</strong> Hopk<strong>in</strong>s Chair <strong>in</strong> Draw<strong>in</strong>g,<br />
Chelsea College of Art, University of<br />
the <strong>Arts</strong>, London, 16 John Islip Street,<br />
London, SW1P 4JU, United K<strong>in</strong>gdom<br />
Keywords design, communication,<br />
education, pa<strong>in</strong>t<strong>in</strong>g<br />
Jurgen Faust<br />
Keywords design discourse,<br />
design<strong>in</strong>g media, design<strong>in</strong>g design,<br />
media designer, first–order and third–<br />
order design<br />
Kate Evans BSc MA is a writer and a UKCP-registered<br />
psychotherapeutic counsellor, work<strong>in</strong>g out of Scarborough<br />
Psychotherapy Tra<strong>in</strong><strong>in</strong>g Institute. She is co-ord<strong>in</strong>ator of, and tutor on,<br />
the BA (Hons) <strong>in</strong> Creative Writ<strong>in</strong>g at the University of Hull<br />
Scarborough Campus.<br />
› The chrysalis and the butterfly: A phenomenological study of one person’s<br />
writ<strong>in</strong>g journey, Journal of Applied <strong>Arts</strong> & Health, 2.2, 173-186.<br />
Stephen Farth<strong>in</strong>g is the Rootste<strong>in</strong> Hopk<strong>in</strong>s Professor of Draw<strong>in</strong>g at the<br />
University of the <strong>Arts</strong>, London. He was previously the Executive<br />
Director of the New York Academy of Art and for ten years was the<br />
Rusk<strong>in</strong> Master and Professional Fellow of Sa<strong>in</strong>t Edmund Hall, Oxford.<br />
He was also the Artist <strong>in</strong> Residence at the Hayward Gallery <strong>in</strong> London.<br />
In 2007 he was awarded a Visit<strong>in</strong>g Hood Fellow at the Institute of<br />
Creative <strong>Arts</strong> & Industries, University of Auckland, New Zealand. He<br />
has been commissioned by, amongst others, The National Portrait<br />
Gallery, London, and the British Embassy <strong>in</strong> Paris. He has had over 38<br />
s<strong>in</strong>gle exhibitions of his work and over 48 group exhibitions. He has<br />
written and edited extensively, <strong>in</strong>clud<strong>in</strong>g '1001 Pa<strong>in</strong>t<strong>in</strong>gs to see before<br />
you die,' (Cassell Illustrated 2006) and has appeared many times on<br />
radio and television.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 5.1, 71-.<br />
Jurgen Faust is full Professor for Media Design at the University of<br />
Applied Science MHMK Munich and Dean of the Media and<br />
Communication Faculty. He is the International Consultant for the<br />
Group Istituto Europeo di Design <strong>in</strong> Milan. Previously he was a<br />
Professor of Design Theory at Tecnologico de Monterrey, Mexico.<br />
Between 1999 and December 2005 he was a Professor for New Media<br />
and Dean of Integrated Media at the Cleveland Institute of Art. He has<br />
taught art and design and theory with an emphasis on design processes<br />
and the possible transformation <strong>in</strong>to other discipl<strong>in</strong>es. Faust is a<br />
practis<strong>in</strong>g <strong>research</strong>er, designer and artist <strong>who</strong> has exhibited <strong>in</strong> many<br />
museums andgalleries <strong>in</strong> Europe and United States. The focus of his<br />
recent publications is on transform<strong>in</strong>g design.<br />
› Design<strong>in</strong>g design and design<strong>in</strong>g media, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 8.1, 109-114.
Dita Judith Federman<br />
University of Haifa, Graduate School<br />
of Creative Art Therapies, DMT<br />
tra<strong>in</strong><strong>in</strong>g, Mt. Carmel, Haifa, 31905,<br />
Israel<br />
Keywords empathy, k<strong>in</strong>esthetic<br />
ability, DMT, group, tra<strong>in</strong><strong>in</strong>g,<br />
assessment<br />
Anne Fenech<br />
Keywords leisure, drama,<br />
engagement, neuroscience, therapy<br />
Marián López<br />
Fernández-Cao<br />
Complutense University of Madrid,<br />
Department of Didactics of Plastic<br />
Expression, Faculty of Education,<br />
Office 1611, c/ Rector Royo<br />
Villanova s/n, 28040, 28040, Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion, education<br />
Dita Federman is a <strong>research</strong>er, lecturer and the director of Dance<br />
Movement Therapy tra<strong>in</strong><strong>in</strong>g at the Graduate School of Creative Art<br />
Therapies, University of Haifa, Israel. She is an accredited Dance<br />
Movement Therapist, psychotherapist and senior supervisor (DMT).<br />
Dr. Federman has experience work<strong>in</strong>g with<strong>in</strong> psychiatric sett<strong>in</strong>gs and<br />
with children, adults and the geriatric population.<br />
› K<strong>in</strong>esthetic ability and the development of empathy <strong>in</strong> Dance Movement<br />
Therapy, Journal of Applied <strong>Arts</strong> & Health, 2.2, 137-154.<br />
Anne Fenech is currently a lecturer at the University of Southampton<br />
School of Health Sciences. Her background is <strong>in</strong> management (MBA),<br />
gerontology (MSc) and occupational therapy (DipCOT). Her career<br />
history has <strong>in</strong>cluded several Head Occupational therapist posts before<br />
mov<strong>in</strong>g <strong>in</strong>to general/policy management and more recently a <strong>research</strong><br />
fellowship. She is currently the English Board Member for the South<br />
East Region of the College of Occupational Therapists and also a<br />
Registration Assessor for the Health Professions Council.<br />
› Inspir<strong>in</strong>g transformations through participation <strong>in</strong> drama for <strong>in</strong>dividuals with<br />
neuropalliative conditions, Journal of Applied <strong>Arts</strong> & Health, 1.1, 63-80.<br />
Marián López Fernández-Cao. Ph.D., MA <strong>in</strong> Psychotherapeutic<br />
Intervention. Senior Lecturer (Tenured) Dept. of Didactics of Plastic<br />
Expression. Faculty of Education. Complutense University of Madrid<br />
(U.C.M.). (Office 1611). Head of Research Team nº 941035:<br />
Aplicaciones del Arte en la Integración Social: Arte, Terapia y<br />
Educación Artística para la Inclusión (UCM). Coord<strong>in</strong>ator of the MA<br />
of Art Therapy and Art Education for Social Inclusion. Director of the<br />
Fem<strong>in</strong>ist Research Institute (UCM).<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.
Laurence Figgis<br />
The Glasgow School of Art, 167<br />
Renfrew Street, Glasgow, G3 6RQ,<br />
United K<strong>in</strong>gdom<br />
Keywords samizdat, z<strong>in</strong>e, selfpublish<strong>in</strong>g<br />
Mick F<strong>in</strong>ch<br />
Keywords tableau, medium, medium<br />
specificty, practice, theory, pa<strong>in</strong>t<strong>in</strong>g,<br />
abstraction as representation<br />
Joanne F<strong>in</strong>kelste<strong>in</strong><br />
University of Greenwich, School of<br />
Humanities and Social Sciences,<br />
London, SE10 9LS, United K<strong>in</strong>gdom<br />
Keywords deception, appearances,<br />
identity, image<br />
Laurence Figgis is an artist and writer based <strong>in</strong> Glasgow and is<br />
Lecturer <strong>in</strong> F<strong>in</strong>e Art Pa<strong>in</strong>t<strong>in</strong>g and Pr<strong>in</strong>tmak<strong>in</strong>g at the Glasgow School<br />
of Art. Exhibitions <strong>in</strong>clude Fly<strong>in</strong>g/ Steal<strong>in</strong>g, Galleria S.A.L.E.S., Rome<br />
(2006), The Great Macguff<strong>in</strong>, Transmission Gallery Glasgow (2005),<br />
and Franz Ferd<strong>in</strong>and, Grazer Kunstvere<strong>in</strong>, Graz (2004). Figgis works<br />
<strong>in</strong> collage, draw<strong>in</strong>g, text-based media and sculpture us<strong>in</strong>g both visual<br />
and verbal elements to develop his own fictional and imag<strong>in</strong>ative<br />
narratives. He has written and lectured on a range of subjects, <strong>in</strong>clud<strong>in</strong>g<br />
contemporary pa<strong>in</strong>t<strong>in</strong>g <strong>in</strong> Scotland and the <strong>in</strong>terpretation of folklore <strong>in</strong><br />
film.<br />
› Hampstead Revisited, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 301-325.<br />
Mick F<strong>in</strong>ch's <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude pa<strong>in</strong>t<strong>in</strong>g, abstraction as<br />
representation, hegemonic structures, materiality of images, pictorial<br />
dispositifs, economies of transcription, archives and appropriation. His<br />
current <strong>research</strong> focuses on a discursive field of pa<strong>in</strong>t<strong>in</strong>g particularly <strong>in</strong><br />
terms of issues of abstraction, as representation, <strong>in</strong> relationship to, and<br />
as, hegemonic structures. This has constituted his <strong>research</strong> <strong>in</strong> terms of<br />
his studio practice <strong>in</strong> pa<strong>in</strong>t<strong>in</strong>gs made between 1996 2005 but also <strong>in</strong> the<br />
form of a number of published texts.<br />
› Writ<strong>in</strong>g on Practice, Journal of Visual Art Practice, 8.1&2, 3-5.<br />
› Studio notes: Closer Than You Th<strong>in</strong>k, Ply- series, Riposte, Sublimey and<br />
Neverm<strong>in</strong>d, Journal of Visual Art Practice, 8.1&2, 83-98.<br />
Joanne F<strong>in</strong>kelste<strong>in</strong> is a sociologist tra<strong>in</strong>ed <strong>in</strong> the ‘Chicago School’. She<br />
has published six monographs <strong>in</strong>clud<strong>in</strong>g D<strong>in</strong><strong>in</strong>g Out: A Sociology of<br />
Modern Manners (1989, Polity, Oxford); The Fashioned Self (1991,<br />
Polity, Oxford); After a Fashion (1994, Melbourne University Press);<br />
The Sociological Bent: A Study of Metro Culture (2005, Thomson,<br />
Sydney); and The Art of Self Invention (2007, IB Tauris, London). She<br />
has undertaken <strong>research</strong> consultancies <strong>in</strong> the food, science,<br />
communications and <strong>in</strong>surance <strong>in</strong>dustries. She is currently Executive<br />
Dean of Humanities and Social Sciences at the University of<br />
Greenwich.<br />
› Fashioned identity and the unreliable image, Critical Studies <strong>in</strong> Fashion &<br />
Beauty, 1.2, 161-171.
Terry F<strong>in</strong>nigan<br />
University of the <strong>Arts</strong> London,<br />
London Coilege of Fashion, 20 John<br />
Pr<strong>in</strong>ces Street, London, W1G OBJ,<br />
United K<strong>in</strong>gdom<br />
Keywords CETL projects, diverse<br />
learners, widen<strong>in</strong>g participation,<br />
change <strong>in</strong>itiatives, <strong>in</strong>clusive<br />
pedagogic practices<br />
Teresa A Fisher<br />
New York University, Ste<strong>in</strong>hardt<br />
School of Culture, Education, and<br />
Human Development, 82 Wash<strong>in</strong>gton<br />
Square East, Pless Hall, 2nd Floor<br />
Annex, New York, NY 10012, United<br />
States of America<br />
Keywords Boal, facilitation, applied<br />
theatre, <strong>in</strong>formed consent<br />
Jennifer Fisher<br />
Keywords<br />
Nick Fitch<br />
Columbia University<br />
Keywords<br />
Terry F<strong>in</strong>nigan is the Creative Learn<strong>in</strong>g <strong>in</strong> Practice CETL Co-ord<strong>in</strong>ator<br />
at London College of Fashion, University of the <strong>Arts</strong> London. Her<br />
current <strong>research</strong> <strong>in</strong>terests are around widen<strong>in</strong>g participation <strong>in</strong> higher<br />
education, critical pedagogy and the important role of student voice <strong>in</strong><br />
change <strong>in</strong>itiatives.<br />
› ‘Tell Us About It’: Diverse student voices <strong>in</strong> creative practice, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 8.2, 135-150.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 8.2, 183-187.<br />
Teresa A. Fisher is a doctoral candidate <strong>in</strong> the educational theatre<br />
programme at New York University. A former mental health<br />
counsellor and play therapist, Teresa’s <strong>in</strong>terest is <strong>in</strong> us<strong>in</strong>g theatre to<br />
explore how we understand our bodies, focus<strong>in</strong>g on obesity. She is an<br />
educator, theatre artist, and an adm<strong>in</strong>istrator. She is also the<br />
Production Manager/Adm<strong>in</strong>istrator for the Program <strong>in</strong> Educational<br />
Theatre’s New Plays for Young Audiences summer series for the New<br />
York City <strong>Arts</strong> <strong>in</strong> Education Roundtable.<br />
› First do no harm: Informed consent pr<strong>in</strong>ciples for trust and understand<strong>in</strong>g <strong>in</strong><br />
applied theatre practice, Journal of Applied <strong>Arts</strong> & Health, 1.2, 157-164.<br />
› EDITORIAL, Journal of Curatorial Studies, 1.1, 3-4.<br />
Nick Fitch is a Ph.D. candidate <strong>in</strong> Art History at Columbia University.<br />
› 'Situações-Limites': the emergence of video art <strong>in</strong> Brazil <strong>in</strong> the 1970s,<br />
Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 59-67.
Claire Flannery<br />
The Douglas Hyde Gallery, Dubl<strong>in</strong><br />
Keywords<br />
Katja Fleischmann<br />
James Cook University, School of<br />
Creative <strong>Arts</strong>, James Cook<br />
University, Townsville, QLD 4811,<br />
Australia<br />
Keywords curriculum design,<br />
employability, learn<strong>in</strong>g and teach<strong>in</strong>g<br />
pool, multidiscipl<strong>in</strong>ary collaboration,<br />
design education<br />
Jerome Fletcher<br />
University College Falmouth,<br />
Tremough Campus, Penryn, TR10<br />
9EZ, United K<strong>in</strong>gdom<br />
Keywords e-literature, children's<br />
literature<br />
Claire Flannery is a critic based <strong>in</strong> London.<br />
› Mirosław Bałka: apple T., Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1,<br />
111-114.<br />
Katja Fleischmann is a senior digital media design and new media arts<br />
educator at the School of Creative <strong>Arts</strong> at James Cook University,<br />
Australia. Her <strong>in</strong>ternational experience as designer and educator<br />
<strong>in</strong>forms her current doctoral <strong>research</strong> <strong>in</strong>terest: the development and<br />
implementation of an alternative learn<strong>in</strong>g and teach<strong>in</strong>g model for<br />
undergraduate digital media design education. She has received<br />
national recognition from the Australian Learn<strong>in</strong>g and Teach<strong>in</strong>g<br />
Council for this work.<br />
› The POOL Model: Foreground<strong>in</strong>g an alternative learn<strong>in</strong>g and teach<strong>in</strong>g<br />
approach for digital media design <strong>in</strong> higher education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 9.1, 57-73.<br />
Jerome Fletcher is Associate Professor of Performance Writ<strong>in</strong>g at<br />
University College Falmouth. He has published three children’s books,<br />
three literary concept books and a translation of a French novella. His<br />
work has been translated <strong>in</strong>to n<strong>in</strong>e languages. He has done a number of<br />
collaborative multimedia performances <strong>in</strong> galleries and museums <strong>in</strong><br />
Vienna, New York, Bregenz, London, Paris, Ed<strong>in</strong>burgh and several<br />
other cities. The ma<strong>in</strong> focus of his <strong>research</strong> and practice is e-literature.<br />
He is part of the Electronic Literature as Model of Creativity and<br />
Innovation <strong>in</strong> Practice (ELMCIP) consortium of seven universities<br />
<strong>research</strong><strong>in</strong>g e-literature communities <strong>in</strong> the European context. He will<br />
be present<strong>in</strong>g a paper and perform<strong>in</strong>g at E-Poetry <strong>in</strong> SUNY Buffalo,<br />
New York <strong>in</strong> May.<br />
› …ha perdut la veu: Some reflections on the composition of e-literature as a<br />
m<strong>in</strong>or literature, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 4.1, 53-63.<br />
Adele Flood Adele Flood, an experienced educator and <strong>research</strong>er, is on the Council<br />
for Australian Art Education and a past Council member of the<br />
International Society for Education through Art. She is the editor of the
Sw<strong>in</strong>burne University of Technology,<br />
Academic Development and Support,<br />
P.O. Box 218, Hawthorn, VIC, 3122,<br />
Australia<br />
Keywords virtual world, constructed<br />
and manipulated imagery, simulation,<br />
technologies, art education<br />
Maria Flôr Dias<br />
Universidad de M<strong>in</strong>ho, Largo do<br />
Paço, 4704-553 Braga, Portugal<br />
Keywords bigheads, arts education,<br />
culture, <strong>in</strong>terdiscipl<strong>in</strong>ary, Portuguese<br />
patrimony<br />
Hendrik Folkerts<br />
Stedelijk Museum Amsterdam, Paulus<br />
Potterstraat 13, 1071 CX Amsterdam,<br />
Netherlands<br />
Keywords art, art history, curat<strong>in</strong>g<br />
Journal of Australian Art Education and on the editorial boards of<br />
International Journal of Art and Design Education and Quality<br />
Assurance <strong>in</strong> Education. In her doctoral thesis, Common Threads, she<br />
<strong>in</strong>vestigated ideas of artistic identity, narrative, memory and agency.<br />
Adele is a practis<strong>in</strong>g artist; her exhibition called Sojourn, based upon<br />
on travels to the South of France, was exhibited at the Coll<strong>in</strong>gwood<br />
Gallery <strong>in</strong> Melbourne, Australia <strong>in</strong> March 2007. She is Assistant<br />
Director of Academic Development and Support at Sw<strong>in</strong>burne<br />
University of Technology <strong>in</strong> Melbourne, where she is responsible for<br />
teach<strong>in</strong>g quality and enhancement.<br />
› Manipulation, simulation, stimulation: the role of art education <strong>in</strong> the digital<br />
age, International Journal of Education through Art, 3.2, 91-102.<br />
Maria dos Anjos Flôr Dias currently holds a position as <strong>in</strong>vited<br />
Lecturer at Instituto de Estudos da Criança (Universidade do M<strong>in</strong>ho).<br />
She graduated from the Conservatório Nacional de Lisboa and holds an<br />
MA <strong>in</strong> Education sciences (Universidade Nova de Lisboa – UNL). Her<br />
current <strong>research</strong>, lead<strong>in</strong>g to a Ph.D., focuses on the emergence,<br />
development and function of artistic education on n<strong>in</strong>eteenth and<br />
twentieth century Portuguese primary schools.<br />
› Male & Female BIGHEADS: Different ways of look<strong>in</strong>g, International<br />
Journal of Education through Art, 4.3, 285-296.<br />
Hendrik Folkerts is an art historian based <strong>in</strong> Amsterdam. He currently<br />
works as curator of the public programme at the Stedelijk Museum<br />
Amsterdam and as coord<strong>in</strong>ator of the curatorial programme at De<br />
Appel Art Centre, Amsterdam. Folkerts frequently publishes <strong>in</strong> such<br />
journals and platforms as Metropolis M, Afterall Onl<strong>in</strong>e, Tubelight and<br />
for the Stedelijk Museum (Bureau) Amsterdam.<br />
› REVIEWS, Art & the Public Sphere, 1.1, 85-.<br />
Jo Foord Jo Foord is a Pr<strong>in</strong>cipal Research Fellow at the Cities Institute, London<br />
Metropolitan University, where she undertakes <strong>research</strong> on urban and<br />
regeneration issues. She has a <strong>research</strong> and teach<strong>in</strong>g background <strong>in</strong>
Cities Institute, Ladbroke House, 62-<br />
66 Highbury Grove, London, N5<br />
2AD, United K<strong>in</strong>gdom<br />
Keywords urban, regeneration, social<br />
and cultural <strong>in</strong>equalities, cultural<br />
policy, creative <strong>in</strong>dustries, urban<br />
development<br />
Richard Forster<br />
United K<strong>in</strong>gdom<br />
Keywords art, ocean, landscapes<br />
Maurizio Forte<br />
University of California, Humanities<br />
and Art Department, 5200 North Lake<br />
Road, Merced, CA, 95343, United<br />
States of America<br />
Keywords metaverse, virtual<br />
collaborative systems, cyberarchaeology<br />
Human Geography and has worked <strong>in</strong> local government. Her particular<br />
<strong>research</strong> <strong>in</strong>terests are <strong>in</strong> urban social and cultural <strong>in</strong>equalities. She is<br />
currently complet<strong>in</strong>g <strong>research</strong> <strong>in</strong>to the governance of disadvantaged<br />
urban areas <strong>in</strong> Vancouver as part of a comparative study of Canadian<br />
ad British cities and engaged <strong>in</strong> multidiscipl<strong>in</strong>ary <strong>research</strong> <strong>in</strong>to the<br />
quality of life <strong>in</strong> mixed-use <strong>in</strong>ner city neighbourhoods. She has also<br />
undertaken <strong>research</strong> <strong>in</strong>to local cultural policy and creative <strong>in</strong>dustries,<br />
consumption and retail change, and gendered employment all with<strong>in</strong><br />
the context of the uneven development of city spaces.<br />
› Strategies for creative <strong>in</strong>dustries: an <strong>in</strong>ternational review, Creative Industries<br />
Journal, 1.2, 91-113.<br />
Richard Forster is an artist and essayist <strong>who</strong> was born <strong>in</strong> the United<br />
States <strong>in</strong> 1970. He received a BA <strong>in</strong> F<strong>in</strong>e Art at Manchester<br />
Polytechnic and a MA <strong>in</strong> Visual Theories at the University of<br />
London. In 2006, he was selected for a Jerwood Artists’ Platform<br />
hosted by Cell Project Space <strong>in</strong> London. Richard currently lives <strong>in</strong><br />
England.<br />
› Seascapes, Journal of Visual Art Practice, 9.3, 211-217.<br />
Maurizio Forte, Ph.D., is a full professor of world heritage at the<br />
University of California, Merced, and Professor of Virtual<br />
Environments for Cultural Heritage at the University of Lugano. He is<br />
member of the board of directors of several <strong>in</strong>ternational organizations<br />
such as Electronic Cultural Atlas Initiative (ECAI), Virtual Systems<br />
and Multimedia (VSMM) and International Council on Monuments<br />
and Sites (ICOMOS). His <strong>research</strong> topics are virtual heritage, cyberarchaeology,<br />
landscape archaeology, proto-history, and methodology<br />
of archaeological <strong>research</strong>. His <strong>research</strong> work and teach<strong>in</strong>g are focused<br />
on the <strong>in</strong>terpretation, communication and reconstruction process <strong>in</strong><br />
archaeology and cultural heritage. He has coord<strong>in</strong>ated <strong>research</strong> projects<br />
<strong>in</strong> Italy, India, Turkey Ethiopia, Egypt, Syria, Kazakhstan, Peru, Ch<strong>in</strong>a,<br />
Oman, and Mexico. He is editor and author of several books <strong>in</strong>clud<strong>in</strong>g<br />
Virtual Archaeology (Thames & Hudson Ltd, 1997), Virtual Reality <strong>in</strong><br />
Archaeology (Oxford, Archaeopress, 2000), and of over 200<br />
› Cyber-archaeology and metaverse collaborative systems, Metaverse<br />
Creativity, 1.1, 7-19.
Rebecca Fortnum<br />
Camberwell College of <strong>Arts</strong> -<br />
University of the <strong>Arts</strong> London, 41<br />
Tyrrell Road, London, SE22 9NE,<br />
United K<strong>in</strong>gdom<br />
Keywords documentation, practice,<br />
<strong>research</strong> <strong>in</strong>to practice, creative<br />
process<br />
Jean-Paul Fourmentraux<br />
Lille 3 University, UFR <strong>Arts</strong> et<br />
Culture, Pont de Bois, Rue du Barreau<br />
– BP 60149, Villeneuve-d’Ascq,<br />
59653, France<br />
Keywords cross<strong>in</strong>g values, boundary<br />
organizations, <strong>in</strong>terdiscipl<strong>in</strong>arity,<br />
<strong>in</strong>dustrial <strong>in</strong>novation, artistic <strong>research</strong><br />
John Fox<br />
Keywords pr<strong>in</strong>tmaker, poet, author<br />
Rebecca Fortnum read English at Oxford before ga<strong>in</strong><strong>in</strong>g an MFA from<br />
Newcastle University and tak<strong>in</strong>g up a fellowship at the Skowhegan<br />
School of Pa<strong>in</strong>t<strong>in</strong>g and Sculpture, United States. She has been a<br />
Visit<strong>in</strong>g Fellow <strong>in</strong> Pa<strong>in</strong>t<strong>in</strong>g at Plymouth University and at W<strong>in</strong>chester<br />
School of Art, a visit<strong>in</strong>g artist at The School of the Art Institute of<br />
Chicago, and a Senior Lecturer at Norwich School of Art and<br />
Wimbledon School of Art. She has received several awards <strong>in</strong>clud<strong>in</strong>g<br />
from the Pollock-Krasner Foundation, the British Council, the <strong>Arts</strong><br />
Council of England, the British School <strong>in</strong> Rome and the Art and<br />
Humanities Research Council. She has exhibited widely <strong>in</strong>clud<strong>in</strong>g solo<br />
shows at the Collective Gallery, Ed<strong>in</strong>burgh, Spacex Gallery, Exeter,<br />
Kapil Jariwala Gallery, London, Angel Row Gallery, Nott<strong>in</strong>gham, The<br />
Draw<strong>in</strong>g Gallery, London and Gallery 33, Berl<strong>in</strong>. She was <strong>in</strong>strumental<br />
<strong>in</strong> found<strong>in</strong>g the artist-run spaces Cubitt Gallery and Gasworks Gallery<br />
<strong>in</strong> London.<br />
› Special Edition Editorial: The Problem of Document<strong>in</strong>g F<strong>in</strong>e Art Practices<br />
and Processes, Journal of Visual Art Practice, 6.3, 167-174.<br />
Jean-Paul Fourmentraux is a sociologist (Ph.D.). Professor at Lille 3<br />
University and member of the Geriico laboratory of communication<br />
sciences, associate <strong>research</strong>er at the Raymond Aron Centre for<br />
Sociology and political studies (CNRS UMR 8036) <strong>in</strong> Paris School of<br />
the High Studies <strong>in</strong> Social Sciences (EHESS). His latest book is Art<br />
and Internet. New forms of creation, (2005, 2010, CNRS, Paris,<br />
France).<br />
› L<strong>in</strong>k<strong>in</strong>g art and sciences, an organizational dilemma. about Hexagram<br />
consortium (Montreal, Canada), Creative Industries Journal, 3.2, 137-150.<br />
John Fox is a prolific artist, pr<strong>in</strong>tmaker, poet, author, cultural<br />
provocateur and grandfather <strong>who</strong> works <strong>in</strong>ternationally. He was the cofounder<br />
(1968) and Artistic Director of Welfare State International, the<br />
legendary <strong>Arts</strong> Collective which, after 38 years of joyous mayhem, he<br />
archived on April Fools Day 2006. He is course leader of the MA <strong>in</strong><br />
Cultural Performance at Bristol University.<br />
› The Oystercatcher's Tale, Journal of Visual Art Practice, 9.3, 239-243.
Alice Fox<br />
Bradford College, 13 Farfield Road,<br />
Shipley, West Yorkshire, BD18 4QP,<br />
United K<strong>in</strong>gdom<br />
Keywords temporality, materiality,<br />
web-based artefacts, open source<br />
software, active notation<br />
Tania Fraga<br />
Institute of Mathematics and Art, 454,<br />
Ap 1401, V Buarque, Sao Paulo,<br />
CEP: 01221-020, Brazil<br />
Keywords art and technology,<br />
computer art, <strong>in</strong>teractive arts, virtual<br />
reality, robotic art, architecture<br />
Mary Anne Francis<br />
University of the <strong>Arts</strong> London and<br />
University of Brighton, School of<br />
<strong>Arts</strong> and Media, University of<br />
Brighton, Grand Parade, Brighton,<br />
BN2 OJY, United K<strong>in</strong>gdom<br />
Keywords art-writ<strong>in</strong>g, postautonomy,<br />
critique, art-school<br />
critique, f<strong>in</strong>e art<br />
Alice Fox is a textile artist study<strong>in</strong>g Contemporary Surface Design and<br />
Textiles at Bradford School of Art and Media. Her work comb<strong>in</strong>es<br />
elements of pr<strong>in</strong>t, weave and embroidery. She has an <strong>in</strong>tense <strong>in</strong>terest <strong>in</strong><br />
the natural world and <strong>in</strong> the detail of organic th<strong>in</strong>gs. Her acutely<br />
observed work on Fifteen Images br<strong>in</strong>gs digital manipultation of textile<br />
images alongside pr<strong>in</strong>tmak<strong>in</strong>g and embroidery.<br />
› Music and textiles <strong>in</strong>teract, Craft Research, 1.1, 39-61.<br />
Tania Fraga is an Architect and Artist. She holds a Ph.D. <strong>in</strong><br />
Communication and Semiotics from Sao Paulo Catholic University; is<br />
the Vice President of the Institute of Mathematics and Art, Sao Paulo;<br />
is develop<strong>in</strong>g <strong>research</strong> with a Senior Post Doctoral <strong>research</strong> grant from<br />
the Sao Paulo Research Foundation (FAPESP) at School of <strong>Arts</strong> and<br />
Communication from the Sao Paulo University, Brazil; and is a<br />
member of the Zero Gravity Consortium, USA. In 1999, she developed<br />
<strong>research</strong> with a Post Doctoral grant from the Brazilian M<strong>in</strong>istry of<br />
Education at Centre for Advanced Inquiry <strong>in</strong> Interactive <strong>Arts</strong> and<br />
Science, Technology and Art Research at Plymouth University, United<br />
K<strong>in</strong>gdom. From 1987 until 2003 she was a professor at the Art<br />
Institute, University of Brasilia, Brazil and <strong>in</strong> 2003, she was a member<br />
of the Advisory Research Committee of the Banff New Media Centre,<br />
Canada.<br />
› Th<strong>in</strong>k<strong>in</strong>g Liquid Thoughts: Version 2, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 2.3, 169-.<br />
› Numeric Tessituras, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2,<br />
243-250.<br />
Mary Anne Francis attended a non-selective state school, which has<br />
<strong>in</strong>formed an ongo<strong>in</strong>g commitment to Widen<strong>in</strong>g Participation <strong>in</strong>itiatives.<br />
She is currently Senior Lecturer <strong>in</strong> F<strong>in</strong>e Art at the University of<br />
Brighton, and Research Fellow <strong>in</strong> Writ<strong>in</strong>g and Art, Chelsea-<br />
Camberwell-Wimbledon Graduate School, University of the <strong>Arts</strong><br />
London.<br />
› Dirty work: art beyond ‘autonomy’, Journal of Visual Art Practice, 6.1, 33-<br />
44.<br />
› Editorial, Journal of Visual Art Practice, 7.3, 199-204.<br />
› A theory of critique…<strong>in</strong> practice: practice as critique, Journal of Visual Art
Jill Franz<br />
Keywords <strong>in</strong>terior design, design<br />
methodology, aesthetics, personenvironment<br />
<strong>in</strong>teraction, sociocultural<br />
studies<br />
Biljana C Fredriksen<br />
Vestfold University College, College<br />
of Education, P.O. Box 2243,<br />
Tonsberg, Vestfold, 3103, Norway<br />
Keywords dynamic curricula,<br />
mean<strong>in</strong>g mak<strong>in</strong>g, art materials,<br />
creativity, early childhood<br />
Practice, 7.3, 241-251.<br />
› ‘Widen<strong>in</strong>g Participation’ <strong>in</strong> the F<strong>in</strong>e Art Ph.D.: Expand<strong>in</strong>g <strong>research</strong> and<br />
practice, Art, Design & Communication <strong>in</strong> Higher Education, 9.2, 167-181.<br />
› In the Café Flaubert, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.2, 133-149.<br />
› Discussion paper from the Work<strong>in</strong>g Group on ‘Situational Fiction’, Chelsea<br />
College of Art & Design, University of the <strong>Arts</strong> London: On the value of<br />
‘Situational Fiction’ for an artist’s writ<strong>in</strong>g1, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 2.2, 151-158.<br />
› Here and there: An artist's writ<strong>in</strong>g as aesthetic form, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 3.2, 97-109.<br />
Jill Franz is an Associate Professor <strong>in</strong> Interior Design at Queensland<br />
University of Technology <strong>in</strong> Brisbane. Her po<strong>in</strong>ts of expertise are<br />
<strong>in</strong>terior design theory and practice, design methodology, aesthetics,<br />
person-environment <strong>in</strong>teraction, socio-cultural studies, practice-led<br />
<strong>research</strong>, art-<strong>in</strong>formed <strong>in</strong>quiry and design <strong>research</strong> methodology. In<br />
2004, she and Steffen Lehmann published their paper Side-by-side: A<br />
Pedagogical Basis for (Design) Transdiscipl<strong>in</strong>arity.<br />
› Publication Review, Art, Design & Communication <strong>in</strong> Higher Education,<br />
1.3, 195-202.<br />
Biljana C. Fredriksen has been teach<strong>in</strong>g visual arts <strong>in</strong> <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
early childhood teacher education programmes at the College of<br />
Education, Vestfold University College <strong>in</strong> Norway s<strong>in</strong>ce 1998. She<br />
started conduct<strong>in</strong>g a number of field studies with young children (0–5<br />
years) <strong>in</strong> 2005. She is currently study<strong>in</strong>g for her Doctorate degree at the<br />
Oslo School of Architecture and Design. The study is funded by The<br />
Norwegian Research Council.<br />
› Mean<strong>in</strong>g mak<strong>in</strong>g, democratic participation and art <strong>in</strong> early childhood<br />
education: Can <strong>in</strong>spir<strong>in</strong>g objects structure dynamic curricula?, International<br />
Journal of Education through Art, 6.3, 381-395.<br />
Bess Frimodig Bess Frimodig is an artist and <strong>research</strong>er focused on pr<strong>in</strong>tmak<strong>in</strong>g and<br />
its social role. She works <strong>in</strong>ternationally with a focused practice of
University of the West of England,<br />
Centre for F<strong>in</strong>e Art Pr<strong>in</strong>t Research,<br />
United K<strong>in</strong>gdom<br />
Keywords higher education, social<br />
engagement, outreach, community<br />
arts<br />
Maria Fulkova<br />
Charles University, Faculty of<br />
Education, M.D. Rettigove 4, 116 39<br />
Prague 1, Czech Republic<br />
Keywords gallery education, teacher,<br />
education, cross-cultural, pedagogy<br />
Matthew Fuller<br />
Goldsmiths, University of London,<br />
London, SE14 6NW, United<br />
K<strong>in</strong>gdom<br />
Keywords Jeremijenko, Bec, Coates,<br />
phenomenology, sensoria<br />
Bjarne Sode Funch<br />
Roskilde University, Department of<br />
Psychology and Educational Studies,<br />
Denmark<br />
Keywords aesthetic experience, art<br />
pr<strong>in</strong>tmak<strong>in</strong>g and social engagement through collaborative projects. The<br />
practice comb<strong>in</strong>es explor<strong>in</strong>g transformation through the arts alongside<br />
with wider notions of dialogue, audience participation and cultural<br />
democracy with lectur<strong>in</strong>g and writ<strong>in</strong>g.<br />
› Insight on OutReach: Towards a critical practice, International Journal of<br />
Education through Art, 6.2, 145-161.<br />
Marie Fulková lectures at the Faculty of Education, Department of Art<br />
Education, Charles University <strong>in</strong> Prague. Her <strong>research</strong> focuses on<br />
discourses of art and art education and l<strong>in</strong>ks between cultural and<br />
educational <strong>in</strong>stitutions. Her book Diskurs Umeˇní a<br />
Vzdeˇlávání/Discourse of Art and Education was published <strong>in</strong> 2008<br />
(Praha: H&H). She is also <strong>in</strong>volved <strong>in</strong> curriculum <strong>research</strong> and<br />
development and <strong>in</strong>terdiscipl<strong>in</strong>ary approaches <strong>in</strong> education. She<br />
collaborates with galleries and museums <strong>in</strong> Prague and abroad.<br />
› Through the eyes of a stray dog: encounters with the Other, International<br />
Journal of Education through Art, 5.2&3, 111-128.<br />
Matthew Fuller is the David Gee Reader <strong>in</strong> Digital Media at the Centre<br />
for Cultural Studies, Goldsmiths College, University of London. His<br />
publications <strong>in</strong>clude ‘Beh<strong>in</strong>d the Blip, essays on the culture of<br />
software’; ‘Media Ecologies, materialist energies <strong>in</strong> art and<br />
technoculture’; and ‘Software Studies, a lexicon’. Research for ‘Art for<br />
Animals’ is supported by the Fonds voor Beeldende Kunst,<br />
Vormgev<strong>in</strong>g en Bouwkunst of the Netherlands.<br />
› Art for animals, Journal of Visual Art Practice, 9.1, 17-33.<br />
Bjarne Sode Funch is Associated Professor of Psychology <strong>in</strong> the<br />
Department of Psychology and Educational Studies at Roskilde<br />
University <strong>in</strong> Denmark and Senior Researcher at the Esbjerg Art<br />
Museum. Professor Funch’s <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude personality<br />
psychology with a focus on phenomenological and existential theories<br />
and methods, the psychology of art, and aesthetic education. He is the<br />
author of The Psychology of Art Appreciation (1997) and a number of
education, attitude, mental imagery,<br />
art encounter<br />
Clayton Funk<br />
The Ohio State University,<br />
Department of Art Education, 1961<br />
Tuttle Park Place, Columbus, Ohio<br />
43210, United States of America<br />
Keywords art education, material<br />
culture<br />
Gonçalo Furtado<br />
Faculdade de Arquitectura da<br />
Universidade do Porto, Rua do<br />
Campo Alegre 78-7, Oporto, 4169-<br />
007, Portugal<br />
Keywords <strong>in</strong>terface, meta-space and<br />
sciences of complexity, Cedric Price,<br />
John and Julia Frazer, generator,<br />
<strong>in</strong>telligent architecture<br />
publications that focus on the psychological theories of the aesthetic<br />
experience, strategies for museums education, and partnerships with<br />
schools. Funch’s teach<strong>in</strong>g <strong>in</strong>corporates phenomenological studies <strong>in</strong><br />
different areas of personality psychology as a po<strong>in</strong>t of departure for an<br />
existential understand<strong>in</strong>g, particularly different types of art<br />
appreciation, <strong>in</strong>clud<strong>in</strong>g the aesthetic experience, the relationship<br />
between art and spirituality, artistic creativity, and the <strong>in</strong>fluences of art<br />
<strong>in</strong> the <strong>in</strong>dividual and its importance <strong>in</strong> society.<br />
› Introduc<strong>in</strong>g people to art, Journal of Visual Art Practice, 3.1, 47-60.<br />
Clayton Funk’s <strong>research</strong> is about the history of art education, material<br />
culture <strong>in</strong> the early twentieth century. These cultural histories of art<br />
education reveal webs of learn<strong>in</strong>g filters, learn<strong>in</strong>g ways and learn<strong>in</strong>g<br />
mach<strong>in</strong>es. His work is published as articles, book chapters and book<br />
reviews and his studio work <strong>in</strong>cludes graphics, web development and<br />
fibres. Funk holds a doctorate <strong>in</strong> Art Education from Teachers College,<br />
Columbia University and an MFA <strong>in</strong> Pa<strong>in</strong>t<strong>in</strong>g and Pr<strong>in</strong>tmak<strong>in</strong>g from<br />
Bowl<strong>in</strong>g Green State University.<br />
› Th<strong>in</strong>gs to come, th<strong>in</strong>gs already done: a review of 20UNDER40: Re<strong>in</strong>vent<strong>in</strong>g<br />
the <strong>Arts</strong> and <strong>Arts</strong> Education for the 21st Century, Visual Inquiry: Learn<strong>in</strong>g &<br />
Teach<strong>in</strong>g Art, 1.1, 71-75.<br />
Gonçalo M. Furtado C. Lopes graduated <strong>in</strong> Architecture (Oporto<br />
University, Portugal), obta<strong>in</strong>ed a Master <strong>in</strong> Architecture (Universidad<br />
Politecnica da Catalunha, Spa<strong>in</strong>), and Ph.D. <strong>in</strong> Theory and History of<br />
Architecture (University College of London, England). His Ph.D.<br />
dissertation focuses on the encounters of the British professionals -<br />
Gordon Pask, Cedric Price and John Frazer - and provides a complete<br />
account of two outstand<strong>in</strong>g architectural projects related to systems and<br />
computation - Generator and Japan Net. He has given lectures <strong>in</strong><br />
Portugal, United K<strong>in</strong>gdom, United States, Spa<strong>in</strong>, Brazil, Colombia and<br />
Mexico. He is the author of: Notes on the Space of Digital Technique<br />
(Oporto: Mimesis, 2002), Marcos Cruz: Unpredictable Bodies<br />
(Oporto: Mimesis, 2004) and Off Fourm: Postglobal City and<br />
Marg<strong>in</strong>al Design Discourses (Bogota: Pei, 2004).<br />
› Brief notes on two <strong>in</strong>f <strong>in</strong>ite scales, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 5.2, 87-96.<br />
› Cedric Price's Generator and the Frazers' systems <strong>research</strong>, Technoetic <strong>Arts</strong>:
Kenneth G. Hay<br />
University of Leeds, School of<br />
Design, Leeds, LS2 9JT, United<br />
K<strong>in</strong>gdom<br />
Keywords pa<strong>in</strong>t<strong>in</strong>g, new media,<br />
studio practice, digital imagery,<br />
sound, multimedia, Cubism,<br />
contemporary art<br />
Stephen A. Gage<br />
The Bartlett School of Architecture,<br />
UCL, Wates House, 22 Gordon<br />
Street, London, WC1H 0QB, United<br />
K<strong>in</strong>gdom<br />
Keywords façade, environmental<br />
controlcybernetics, governor,<br />
helmsman, hybrid terra<strong>in</strong><br />
A Journal of Speculative Research, 6.1, 55-72.<br />
Professor Kenneth G. Hay BA, MA, Ph.D., FRSA, is Chair of<br />
Contemporary Art Practice and Deputy Head of School, <strong>in</strong> the School<br />
of Design, the University of Leeds, where he works as an artist, writer<br />
and lecturer. As an artist he works <strong>in</strong> the fields of pa<strong>in</strong>t<strong>in</strong>g,<br />
photography, pr<strong>in</strong>t, digital imagery, video, sound and multimedia. As<br />
an academic his <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> Italian art and philosophical<br />
aesthetics, art practice as <strong>research</strong>, modernism and postmodernism,<br />
architecture history and theory, Cubism, Cyberspace, European Art<br />
from 1900, and the contemporary world art. He exhibits regularly <strong>in</strong><br />
the UK and abroad, most recently <strong>in</strong> <strong>in</strong> the Italia Telecom Future<br />
Centre, San Salvador, Rialto, Venice (Sept 2004); <strong>in</strong> the Galeria<br />
Pryzmat, Cracow, Poland (July 2004), <strong>in</strong> London, 'Deptford X' (June<br />
2004); and simultaneously <strong>in</strong> Bradford Cartwright Hall and the Brno<br />
Gallery, Czech Republic (May-June 2005).<br />
› Concrete abstractions – a Della Volpean perspective on studio practice as<br />
<strong>research</strong>, Journal of Visual Art Practice, 2.1, 64-77.<br />
Stephen Gage is Professor of Innovative Technology at the Bartlett<br />
School of Architecture, University College London. His professional<br />
career spans the design and construction of build<strong>in</strong>gs, academic<br />
teach<strong>in</strong>g and <strong>research</strong> <strong>in</strong> government, private and academic contexts.<br />
Currently he coord<strong>in</strong>ates the technical aspects of design <strong>research</strong> at the<br />
Bartlett, UCL, and is a founder member of the Bartlett Interactive<br />
Architecture Workshop. His many published build<strong>in</strong>g designs are<br />
recognized as leaders <strong>in</strong> their field. His long experience as a designer<br />
has susta<strong>in</strong>ed an <strong>in</strong>terest <strong>in</strong> the way the technology of build<strong>in</strong>g can<br />
subtly modify the external environment. His other area of <strong>research</strong><br />
comes from a long-stand<strong>in</strong>g <strong>in</strong>terest <strong>in</strong>to the time-based aspects of<br />
architecture that relate to human occupation and build<strong>in</strong>g use and takes<br />
forward an early <strong>in</strong>terest <strong>in</strong> cybernetics and build<strong>in</strong>g brief writ<strong>in</strong>g.<br />
› Edge monkeys - the design of habitat specific robots <strong>in</strong> build<strong>in</strong>gs, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 3.3, 169-180.<br />
› The boat/helmsman, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
5.1, 15-24.
Julia Gaimster<br />
London College of Fashion, 20 John<br />
Pr<strong>in</strong>ce's Street, London, W1G 0B,<br />
United K<strong>in</strong>gdom<br />
Keywords virtual worlds, art and<br />
design, emotions, <strong>in</strong>teractions,<br />
learn<strong>in</strong>g<br />
David Gall<br />
University of North Carol<strong>in</strong>a at<br />
Charlotte, Department of Art and Art<br />
History, 9201 University City Blvd,<br />
Charlotte, NC, 28223-0001, United<br />
States of America<br />
Keywords spirituality, <strong>in</strong>tuition,<br />
visual culture, art education,<br />
aesthetics<br />
Ray Gallon<br />
Keywords social network<strong>in</strong>g,<br />
<strong>in</strong>formation, education, media,<br />
behaviour<br />
Julia Gaimster is the Head of eLearn<strong>in</strong>g at the London College of<br />
Fashion. She has 20 years experience <strong>in</strong> fashion education and dur<strong>in</strong>g<br />
that time she has developed expertise <strong>in</strong> the use and development of<br />
virtual learn<strong>in</strong>g environments (VLEs) and e-Learn<strong>in</strong>g resources. She<br />
ga<strong>in</strong>ed her Doctorate <strong>in</strong> Education at Surrey University <strong>in</strong> 2004. Her<br />
<strong>research</strong> <strong>in</strong>terests cover the pedagogy of eLearn<strong>in</strong>g <strong>in</strong> art and design,<br />
work based learn<strong>in</strong>g and the use of Web2 technologies and virtual<br />
worlds to support learn<strong>in</strong>g and teach<strong>in</strong>g <strong>in</strong> art and design. She has<br />
worked on a variety of e-Learn<strong>in</strong>g resources <strong>in</strong>clud<strong>in</strong>g See<strong>in</strong>g-draw<strong>in</strong>g<br />
and the Textiles Onl<strong>in</strong>e Resource Guide. She is currently develop<strong>in</strong>g an<br />
onl<strong>in</strong>e resource (Sketchbook) designed to facilitate cross-discipl<strong>in</strong>ary<br />
visual <strong>research</strong> <strong>in</strong> art and design. The Art, Design and Media Subject<br />
Centre are sponsor<strong>in</strong>g this project.<br />
› Book Reviews, International Journal of Education through Art, 5.1, 93-96.<br />
› Reflections on Interactions <strong>in</strong> virtual worlds and their implication for<br />
learn<strong>in</strong>g art and design, Art, Design & Communication <strong>in</strong> Higher Education,<br />
6.3, 187-199.<br />
David Gall completed his BFA and MFA studies <strong>in</strong> India, and his<br />
Ph.D. at the Pennsylvania State University. His writ<strong>in</strong>g <strong>in</strong>cludes<br />
articles on Caribbean art, related critical and historical issues, as well<br />
as on social theory <strong>in</strong> art education.<br />
› Insight from another side: what art education can learn from Aurob<strong>in</strong>do,<br />
International Journal of Education through Art, 4.2, 207-218.<br />
Ray Gallon has been a social networker s<strong>in</strong>ce 1985. He has consistently<br />
pursued a split life, between art, the media and <strong>in</strong>dustry. He has been a<br />
light<strong>in</strong>g and sound designer for the theatre and an <strong>in</strong>dependent media<br />
and sound artist. Ray has enjoyed a long career as a radio journalist and<br />
producer for CBC, NPR, WDR (Köln), Deutsche Welle, Radio<br />
Netherlands International and France Culture. He is a former<br />
programme manager of WNYC-FM (Public Radio <strong>in</strong> New York City),<br />
where he won three Armstrong Awards. Ray is a frequent speaker for<br />
the groups; Society for Technical Communications (STC), Rencontres<br />
A.M.E. <strong>in</strong> Vallais, Switzerland, and other conferences and festivals.<br />
› Media behaviour: towards the transformation society, Technoetic <strong>Arts</strong>: A
Rejane Galvão Cout<strong>in</strong>ho<br />
Instituto de Artes- UNESP, Rua Dom<br />
Luis Lasagna, 400, Ipiranga, Sâo<br />
Paulo, 04266-030, Brazil<br />
Keywords art, gender, professional<br />
tra<strong>in</strong><strong>in</strong>g, history, applied arts<br />
Alice Gambrell<br />
University of Southern California,<br />
College of Letters, <strong>Arts</strong>, and Sciences,<br />
Los Angeles, CA, 90089, United<br />
States of America<br />
Keywords animation, stop motion<br />
Jonathan Gander<br />
K<strong>in</strong>gston University Bus<strong>in</strong>ess School,<br />
K<strong>in</strong>gston Hill, K<strong>in</strong>gston upon<br />
Thames, Surrey, KT2 7LB, United<br />
K<strong>in</strong>gdom<br />
Keywords strategic resources,<br />
clusters, fashion <strong>in</strong>dustry, apparel<br />
Journal of Speculative Research, 8.1, 115-122.<br />
Rejane Galvão Cout<strong>in</strong>ho is professor <strong>in</strong> the <strong>Arts</strong> Institute at São Paulo<br />
State University – UNESP where she teaches undergraduate and<br />
postgraduate courses for art teachers. Her ma<strong>in</strong> <strong>research</strong> areas are the<br />
history of art education; artistic and aesthetic development and<br />
museum education. She is an associate <strong>research</strong>er with the Grupo de<br />
Pesquisa em Arte e Formação de Educadores – UNESP, and the Centre<br />
de Recherche Images, Culture et Cognition (Paris1, Pantheon<br />
Sorbonne). Her most recent publication is Artes Visuais: da exposição<br />
à sala de aula (Visual <strong>Arts</strong>: From Exhibition to the Classroom) (São<br />
Paulo, Edusp, 2005), co-written with Ana Mae Barbosa and Heloisa<br />
Margarido Sales.<br />
› Art education and professional tra<strong>in</strong><strong>in</strong>g: The São Paulo Professional School<br />
for Women, International Journal of Education through Art, 3.1, 69-76.<br />
Alice Gambrell is Associate Professor of English at the University of<br />
Southern California. She received her BA from Dartmouth College, a<br />
MA and Ph.D <strong>in</strong> English from the University of Virg<strong>in</strong>ia, and a Ph.D<br />
from the Savannah College of Art and Design. She has produced many<br />
scholarly articles, art <strong>in</strong>stallations, and conference papers s<strong>in</strong>ce 2009.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude modernism, gender studies, m<strong>in</strong>ority<br />
discourse analysis, and new media.<br />
› In visible hands: the work of stop motion, Animation Practice, Process &<br />
Production, 1.1, 107-129.<br />
Jonathan Gander is a senior lecturer <strong>in</strong> strategic management at<br />
K<strong>in</strong>gston University Bus<strong>in</strong>ess School, London. He has experience as a<br />
consultant <strong>in</strong> fashion retail and has provided executive bus<strong>in</strong>ess<br />
tra<strong>in</strong><strong>in</strong>g to mult<strong>in</strong>ational companies and government associations. His<br />
ma<strong>in</strong> area of <strong>research</strong> is <strong>in</strong> the organization of the cultural economy. He<br />
has published a number of academic papers on this topic, for example<br />
<strong>in</strong> the Journal of Organizational Behavior, and the ournal of Cultural<br />
Economics.
design, music <strong>in</strong>dustry<br />
Mette Gårdvik<br />
Nesna University College, <strong>Arts</strong> and<br />
crafts, 8700 Nesna, Norway<br />
Keywords handicraft skills, art<br />
education, teacher education<br />
Gregg Garf<strong>in</strong><br />
University of Arizona, 715 N. Park<br />
Ave, 2nd Fl. Tuscon, Arizona, 85721-<br />
0156, United States of America<br />
Keywords susta<strong>in</strong>ability,<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary, dialogue<br />
Ken Garland<br />
Keywords graphic design, art<br />
education, advertis<strong>in</strong>g, ethics<br />
› Product development with<strong>in</strong> a clustered environment: The case of apparel<br />
design firms, Creative Industries Journal, 2.3, 273-289.<br />
Mette Gårdvik is assistant professor of <strong>Arts</strong> and Handicrafts at Nesna<br />
University College’s teacher education programme. Her <strong>research</strong><br />
focuses on conservation of handicraft skills and has presented and been<br />
published regionally, nationally and <strong>in</strong>ternationally. Her works have<br />
been displayed at various exhibitions throughout her home country of<br />
Norway.<br />
› It doesn’t help to call a professor if your wash<strong>in</strong>g mach<strong>in</strong>e is leak<strong>in</strong>g: The<br />
Norwegian M<strong>in</strong>ister of Knowledge, December 2009, International Journal of<br />
Education through Art, 7.2, 127-136.<br />
Dr. Garf<strong>in</strong> is Deputy Director for Science Translation and Outreach. He<br />
is tra<strong>in</strong>ed as a climatologist, dendroclimatologist and geographer. He is<br />
an <strong>in</strong>vestigator with the Climate Assessment for the Southwest<br />
(CLIMAS) project. His recent <strong>research</strong> and outreach activities focus<br />
primarily on the follow<strong>in</strong>g topics as they perta<strong>in</strong> to the south-western<br />
United States: drought; effective communication of climate history and<br />
forecasts to decision makers; relationships between climate and fire,<br />
and adaptation to a chang<strong>in</strong>g climate.<br />
› A closer look at listen<strong>in</strong>g: <strong>in</strong>terdiscipl<strong>in</strong>arity and the varieties of languages<br />
employed <strong>in</strong> the conveyance of problem and solution, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 7.1, 19-29.<br />
Ken Garland is best known for the 1964 'First Th<strong>in</strong>gs First' manifesto, a<br />
statement on artistic <strong>in</strong>tegrity and ethics. He has written on art and<br />
design s<strong>in</strong>ce 1959. His <strong>in</strong>terests <strong>in</strong>clude practical art education,<br />
<strong>in</strong>ternational changes <strong>in</strong> graphic design methodology, and the politics<br />
and ethics of graphic design for advertis<strong>in</strong>g.<br />
› My design work for CND, The Poster, 1.2, 187-191.
Mehrdad Garousi<br />
Freelance fractal artist, pa<strong>in</strong>ter, and<br />
photographer<br />
Keywords pa<strong>in</strong>t<strong>in</strong>g, photography,<br />
graphics, fractal art, topological<br />
sculpt<strong>in</strong>g<br />
Alfredo Palacios Garrido<br />
Alcalá University, University College<br />
Cardenal Cisneros,, Alfredo Palacios<br />
Garrido, c/ Colombia, nº30, 9ºD,<br />
Madrid, 28106, Spa<strong>in</strong><br />
Keywords public art, community art,<br />
heritage education, teacher tra<strong>in</strong><strong>in</strong>g<br />
Gregory P. Garvey<br />
Qu<strong>in</strong>nipiac University, Department of<br />
Visual and Perform<strong>in</strong>g <strong>Arts</strong>, 275<br />
Mount Carmel Avenue, CAS 1-322,<br />
Hamden, CT, 6518, United States of<br />
America<br />
Keywords de-realization, depersonalization,<br />
dissociative-identity<br />
disorder, second life, avatar<br />
Mehrdad Garousi is a freelance artist and <strong>research</strong>er and has been<br />
<strong>in</strong>volved with pa<strong>in</strong>t<strong>in</strong>g, photography and graphics for several years.<br />
Hav<strong>in</strong>g experimented with different media, he chose mathematical and<br />
generative arts <strong>in</strong>clud<strong>in</strong>g fractal art and topological sculpt<strong>in</strong>g as one of<br />
the newest and most wonderful common areas between mathematics<br />
and art. In addition to participat<strong>in</strong>g cont<strong>in</strong>ually <strong>in</strong> several art<br />
exhibitions of different events like Bridges, Jo<strong>in</strong>t Mathematics<br />
Meet<strong>in</strong>gs, ISAMA, Computational Aesthetics, Generative Art, he has<br />
also published some papers on this <strong>in</strong> recent years.<br />
› Fractals and the second life, Metaverse Creativity, 1.2, 147-163.<br />
Alfredo Palacios has a Ph.D. degree <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> and a Masters degree<br />
<strong>in</strong> Aesthetics and Theory of Art. Currently he works as a Lecturer <strong>in</strong><br />
Art Teacher Education at University College Cardenal Cisneros, Alcalá<br />
University, Madrid. His <strong>research</strong> centres on community art and the<br />
educational role of public art, heritage and architecture.<br />
› Escribir el Lugar: collaborative projects <strong>in</strong> public spaces, International<br />
Journal of Education through Art, 4.2, 195-206.<br />
Gregory P. Garvey teaches <strong>in</strong> the Department of Visual and Perform<strong>in</strong>g<br />
<strong>Arts</strong> at Qu<strong>in</strong>nipiac University. His <strong>in</strong>teractive computer based<br />
<strong>in</strong>stallations have been exhibited <strong>in</strong> the United States, Canada and<br />
Europe and have been written about <strong>in</strong> publications such as , National<br />
Geographic, Daily Telegraph and others. Previously at Qu<strong>in</strong>nipiac<br />
University, he was the Visit<strong>in</strong>g Fellow <strong>in</strong> the <strong>Arts</strong> and also an<br />
Associate Artist of the Digital Media Center for the <strong>Arts</strong> at Yale<br />
University. Prior to jo<strong>in</strong><strong>in</strong>g Qu<strong>in</strong>nipiac University he was Chair of the<br />
Department of Design Art at Concordia University <strong>in</strong> Montreal and<br />
was a member of the Board of Directors of the Montreal Design<br />
Institute. He received a Masters of Science <strong>in</strong> Visual Studies degree<br />
from MIT and was a Fellow at the Center for Advanced Visual Studies<br />
at MIT from 1983-85.<br />
› Dissociation and Second Life: Pathology or transcendence?, Technoetic <strong>Arts</strong>:<br />
A Journal of Speculative Research, 8.1, 101-107.
Emil Gaul<br />
Nyíregyháza College, 4400<br />
Nyíregyháza, Sóstói út 31/B, Hungary<br />
Keywords dress, young people, taste<br />
culture, secondary school, subcultures<br />
Christ<strong>in</strong>e Geraghty<br />
University of Glasgow, School of<br />
Culture and Creative <strong>Arts</strong>, Glasgow,<br />
G12 8QQ, United K<strong>in</strong>gdom<br />
Keywords communications, cultural<br />
studies, discipl<strong>in</strong>ary status, vocational<br />
education, student views<br />
Murat Germen<br />
Sabanci University, Visual <strong>Arts</strong> and<br />
Communication Design Program,<br />
Sabanci University, FASS, Orhanli,<br />
Tuzla, Istanbul, Marmara, 34956,<br />
Turkey<br />
Keywords virtual architecture,<br />
metaverse, representation, virtual<br />
reality, perception, photography,<br />
contemporary art, digital imag<strong>in</strong>g,<br />
computational art, documentary,<br />
Professor Emil Gaul PhD, DLA, works <strong>in</strong> the Department of Visual<br />
Culture at Nyíregyháza College, Hungary. Dr Gaul started his career as<br />
an <strong>in</strong>terior designer, design<strong>in</strong>g trade exhibitions for <strong>in</strong>ternational fairs<br />
<strong>in</strong> Europe and overseas for ten years. For the next ten years he was PR<br />
Manager for a Design Centre and organised, among other th<strong>in</strong>gs,<br />
nationwide youth competitions ‘Let’s Design Objects’ for 9–18 year old<br />
children. He is the found<strong>in</strong>g member (1987) of Teacher Education at<br />
the Hungarian Academy of Craft and Design, where he teaches<br />
didactics and special methodology. He completed a Ph.D. degree <strong>in</strong><br />
2002 on ‘The structure and development of design and technology<br />
capabilities for students aged 12–16 years’.<br />
› Appearances can be deceptive: A report on the dress, tastes and values of<br />
Hungarian secondary school pupils, International Journal of Education<br />
through Art, 5.1, 63-74.<br />
Christ<strong>in</strong>e Geraghty is Professor of Film and Television at the<br />
University of Glasgow. Previously, she served as Head of the Media<br />
and Communications Department at Goldsmiths College and taught<br />
film studies part-time for many years before tak<strong>in</strong>g a full-time post <strong>in</strong><br />
1993. She is the author of Women and Soap Opera (Polity, 1991) and<br />
British C<strong>in</strong>ema <strong>in</strong> the Fifties: Gender Genre and the ‘New Look’<br />
(Routledge, 2000). With David Lusted, she also co-edited The<br />
Television Studies Book (Arnold, 1998) and she is the author of<br />
numerous articles, <strong>in</strong>clud<strong>in</strong>g ‘Reflections on history <strong>in</strong> teach<strong>in</strong>g cultural<br />
studies’<strong>in</strong> Cultural Studies, 10:2.<br />
› 'Do<strong>in</strong>g Media Studies': reflections on an unruly discipl<strong>in</strong>e, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 1.1, 25-36.<br />
Murat Germen is an artist / architect us<strong>in</strong>g photography as an<br />
expression and <strong>research</strong> tool. He has a BSc degree <strong>in</strong> City Plann<strong>in</strong>g<br />
from Technical University of Istanbul and an MArch degree from<br />
Massachusetts Institute of Technology, where he went as a Fulbright<br />
scholar and received AIA Henry Adams Gold Medal for academic<br />
excellence. He works as a professor of photography and multimedia<br />
design at Sabanci University <strong>in</strong> Istanbul and previously worked for<br />
various state and private universities such as Bilkent, Yeditepe,<br />
Istanbul Technical, Yildiz and Bilgi University; teach<strong>in</strong>g various<br />
topics.
fiction<br />
Mario Gerosa<br />
Independent curator and <strong>research</strong>er<br />
Keywords architecture, curat<strong>in</strong>g,<br />
virtual worlds<br />
Robyn Gibson<br />
University of Sydney, Faculty of<br />
Education and Social Work,<br />
University of Sydney, NSW, 2006,<br />
Australia<br />
Keywords art education, art<br />
education <strong>in</strong> Australia, student<br />
engagement, motivation,<br />
achievement, creative teach<strong>in</strong>g<br />
practices, art as <strong>research</strong>, <strong>research</strong> as<br />
art<br />
Eugene Giddens<br />
Anglia Rusk<strong>in</strong> University, Helmore<br />
158, Faculty of <strong>Arts</strong>, Law and Social<br />
› Us<strong>in</strong>g 2D photography as a 3D constructional tool with<strong>in</strong> the metaverse,<br />
Metaverse Creativity, 1.1, 35-50.<br />
Mario Gerosa (1963) studied architecture at the Politecnico <strong>in</strong> Milan,<br />
graduat<strong>in</strong>g <strong>in</strong> 1987 with a thesis on the imag<strong>in</strong>ary places described <strong>in</strong> A<br />
la recherche du temps perdu, by Proust. He has always been fond of<br />
imag<strong>in</strong>ary architectures and <strong>in</strong> 1989, he created and he was the curator<br />
of the exhibition ‘Proust au Grand Hotel de Balbec’ (Palazzo Sormani,<br />
Milan), dedicated to the hotel described <strong>in</strong> A la recherche du temps<br />
perdu. In 1991, he conceived the exhibition ‘Le camere del delitto. Gli<br />
<strong>in</strong>terni mentali di John Dickson Carr’ (Mysfest, Cattolica), dedicated to<br />
the <strong>in</strong>teriors of the thrillers l<strong>in</strong>ked to the ‘locked rooms murders’. In<br />
2006, he wrote the ‘Convention for the protection of the virtual<br />
architecture eritage’ (http://virtualarchitecturalheritage .blogspot.com)<br />
and founded Synthravels (www.synthravels.com), the first tour<br />
operator for travels <strong>in</strong>to virtual worlds.<br />
› A playful attitude: Fun and seriousness <strong>in</strong> the art of the virtual worlds: How<br />
fun and seriousness <strong>in</strong> the art of the virtual worlds can predict the shape of<br />
the forthcom<strong>in</strong>g future, Metaverse Creativity, 1.2, 165-184.<br />
Robyn Gibson is Associate Dean of Undergraduate and Preservice<br />
Programmes <strong>in</strong> the Faculty of Education and Social Work at the<br />
University of Sydney. She lectures <strong>in</strong> Visual and Creative <strong>Arts</strong><br />
Education <strong>in</strong> both the Bachelor of Education (Primary) and Master of<br />
Teach<strong>in</strong>g (Primary) programmes. Her current <strong>research</strong> focuses on the<br />
use of creative learn<strong>in</strong>g, teach<strong>in</strong>g and assessment <strong>in</strong> tertiary contexts.<br />
› Primary-age children’s attitudes to art, art mak<strong>in</strong>g and art education,<br />
International Journal of Education through Art, 4.2, 177-193.<br />
Eugene Giddens is Sk<strong>in</strong>ner-Young Professor <strong>in</strong> Shakespeare and<br />
Renaissance Literature at Anglia Rusk<strong>in</strong> University. He is an associate<br />
editor of the forthcom<strong>in</strong>g Cambridge Edition of the Works of Ben<br />
Jonson and a general editor of the Oxford Complete Works of James
Sciences, Anglia Rusk<strong>in</strong> University,<br />
Cambridge, CB1 1PT, United<br />
K<strong>in</strong>gdom<br />
Keywords<br />
James K. Gimzewski<br />
University of California Los Angeles,<br />
Department of Chemistry and<br />
Biochemistry, 607 Charles E. Young<br />
Drive East - Box 951569, Los<br />
Angeles, CA 90095-1569, United<br />
States of America<br />
Keywords nanotechnology,<br />
nanometre, nanobots<br />
Dirk G<strong>in</strong>dt<br />
Keywords Swedish sexual politics,<br />
cold war mascul<strong>in</strong>ity, fashion and<br />
homosexuality<br />
Shirley.<br />
› Digital revolutions and digital delays: Electronic editions of renaissance<br />
literature, Book 2.0, 1.1, 21-30.<br />
Jim Gimzewski is Professor <strong>in</strong> the Department of Chemistry and<br />
Biochemistry at the University of California Los Angeles. He is<br />
cofounder of the Institute of Nanotechnology, UK, a member of the<br />
board and chairman of its European advisory board. Prior to jo<strong>in</strong><strong>in</strong>g the<br />
UCLA faculty, he was a group leader at IBM Zurich Research<br />
Laboratory, where he did <strong>research</strong> <strong>in</strong> nanoscale science and technology<br />
for more than eighteen years. Dr. Gimzewski pioneered <strong>research</strong> on<br />
mechanical and electrical contacts with s<strong>in</strong>gle atoms and molecules<br />
us<strong>in</strong>g scann<strong>in</strong>g tunnel<strong>in</strong>g microscopy (STM) and was one of the first<br />
persons to image molecules with STM. His accomplishments <strong>in</strong>clude<br />
the first STM-based fabrication of molecular suprastructures at room<br />
temperature us<strong>in</strong>g mechanical forces to push molecules across surfaces,<br />
the discovery of s<strong>in</strong>gle molecule rotors and the development of new<br />
micromechanical sensors based on nanotechnology, which explore<br />
ultimate limits of sensitivity and measurement.<br />
› The Nanoneme Syndrome: Blurr<strong>in</strong>g of fact and fiction <strong>in</strong> the construction of<br />
a new science, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 1.1, 7-<br />
24.<br />
Dirk G<strong>in</strong>dt holds a Ph.D. <strong>in</strong> Performance Studies and has worked as an<br />
Assistant Professor at the Centre for Fashion Studies at Stockholm<br />
University, where, <strong>in</strong> autumn 2009, he was awarded a two-year<br />
<strong>research</strong> position as a Postdoctoral Associate. G<strong>in</strong>dt is co-editor of<br />
Fashion: An Interdiscipl<strong>in</strong>ary Reflection (Raster, 2009). He has<br />
published <strong>in</strong> Nordic Theatre Studies, The Tennessee Williams Annual<br />
Review and has a forthcom<strong>in</strong>g article <strong>in</strong> Fashion Theory. He is also the<br />
editor-<strong>in</strong>-chief of lambda nordica for which he has edited a special<br />
issue on mascul<strong>in</strong>ities (13: 4) and a double issue on queer fashion (14:<br />
3–4). His current <strong>research</strong> projects <strong>in</strong>vestigate the orig<strong>in</strong>al Swedish<br />
stage productions of Tennessee Williams’ plays <strong>in</strong> the 1950s and the<br />
collaboration between fashion designers and performance artists.<br />
› Com<strong>in</strong>g out of the cab<strong>in</strong>et: Fashion<strong>in</strong>g the closet with Sweden's most famous<br />
diplomat, Critical Studies <strong>in</strong> Fashion & Beauty, 1.2, 233-254.
Matilde Mollá G<strong>in</strong>er<br />
Complutense University of Madrid,<br />
Didactics of Plastic Expression,<br />
Faculty of Education, Office 1609, c/<br />
Rector Royo Vilanova s/n, Madrid,<br />
28040, Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion, education<br />
Sybil Goldf<strong>in</strong>er<br />
CEO of Comme il faut, Comme il<br />
faut, Tel Aviv, Israel<br />
Keywords<br />
Cather<strong>in</strong>e Gombe<br />
Kyambogo University, Art &<br />
Industrial Design, P. O. Box 84,<br />
Kyambogo, Kyambogo, Uganda<br />
Keywords design, development<br />
education, plaited mats, barkcloth,<br />
natural dyes, pr<strong>in</strong>tmak<strong>in</strong>g, Uganda<br />
The <strong>research</strong> group ‘Aplicaciones del arte para la <strong>in</strong>clusión social: arte,<br />
terapia y educación para la diversidad’ (Applications of art for social<br />
<strong>in</strong>clusion: art, therapy and education for diversity) is a part of a larger<br />
team of teach<strong>in</strong>g staff at the Complutense University of Madrid, which<br />
has promoted studies on art, social <strong>in</strong>clusion and art therapy, to a<br />
European MA and Ph.D. The group, composed of Primary and<br />
Secondary Schools teachers, professors at the Faculty of Education and<br />
<strong>research</strong>ers on Art Education and Art Therapy, has published a variety<br />
of books on art therapy and social <strong>in</strong>clusion.<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.<br />
Sybil Goldf<strong>in</strong>er, co founder and owner and CEO of the high-end<br />
fashion house comme il faut. The brand was founded and launched <strong>in</strong><br />
1988 together with Carol God<strong>in</strong> and has always embodied an ethical<br />
agenda of fem<strong>in</strong>ist values. The comme il faut group shares a CSR<br />
agenda of environmental responsibility, and social responsibility<br />
towards its employees, clients and local community as well as<br />
commitment to fem<strong>in</strong>ist ideals.<br />
› Comme il faut – where ethics is not just a brand image but a brand essence.<br />
Reflections of the CEO, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 83-116.<br />
Dr. Cather<strong>in</strong>e Gombe is Senior Lecturer and Head of the Department of<br />
Art and Industrial Design at Kyambogo University, Kampala, Uganda,<br />
where she teaches pr<strong>in</strong>tmak<strong>in</strong>g, draw<strong>in</strong>g and supervises student<br />
<strong>research</strong> for both graduate and undergraduate. Dr. Gombe has a strong<br />
belief <strong>in</strong> education through art and a deep <strong>in</strong>terest <strong>in</strong> nature and<br />
<strong>in</strong>digenous crafts, understand<strong>in</strong>g them as conta<strong>in</strong><strong>in</strong>g knowledge and<br />
skills that contribute significantly to diversify<strong>in</strong>g learn<strong>in</strong>g and to the<br />
development of art design and technology nationally and<br />
<strong>in</strong>ternationally. She uses nature as <strong>in</strong>spiration for her own artistic<br />
creations. She is presently <strong>in</strong>volved <strong>in</strong> <strong>research</strong> on ‘Lubugo’<br />
(barkcloth), mat-mak<strong>in</strong>g, and natural dyes <strong>in</strong> Uganda.<br />
› Indigenous plaited patterns on Ugandan mats, International Journal of<br />
Education through Art, 3.2, 123-132.
Gloria Gómez-Diago<br />
Rey Juan Carlos University,<br />
Department of Sciences of<br />
Communication (II), Spa<strong>in</strong><br />
Keywords second life, design,<br />
communication, bra<strong>in</strong>storm<strong>in</strong>g,<br />
bra<strong>in</strong>flow<strong>in</strong>g<br />
Ana Marta González<br />
University of Navarra, Departamento<br />
de Filosofía, Departamento de<br />
Filosofía, Universidad de Navarra,<br />
Pamplona 31080, Spa<strong>in</strong><br />
Keywords self-expression,<br />
<strong>in</strong>dividualization, civiliz<strong>in</strong>g process,<br />
social conversation, critical views<br />
Michael Evan Goodsite<br />
Aarhus University, Department of<br />
Atmospheric Environment,<br />
Fredericksborgvej 399, DK 4000,<br />
Roskilde, Denmark<br />
Keywords liv<strong>in</strong>g architecture, green<br />
architecture, susta<strong>in</strong>ability, climate<br />
adaptation and mitigation, systems<br />
architecture<br />
Gloria Gómez-Diago is a Ph.D. candidate <strong>in</strong> the Department of<br />
Sciences of Communication (II) at the Rey Juan Carlos University<br />
(Madrid). Her <strong>research</strong> comb<strong>in</strong>es theoretical and practical perspectives<br />
and is framed by two objectives: identification of the elements that<br />
<strong>in</strong>tegrate the several communicative actions that we can accomplish,<br />
and the study and analysis of communication theories, methods and<br />
techniques of <strong>research</strong>. Her professional experience is focused <strong>in</strong> the<br />
fields of communication, education and <strong>research</strong>. She ma<strong>in</strong>ta<strong>in</strong>s the<br />
weblog ‘fromcommunication’,<br />
http://fromcommunication.blogspot.com/.<br />
› Bra<strong>in</strong>flow<strong>in</strong>g, virtual/physical space and the flow of communication: An<br />
explanatory approach to the metaverse through a tool designed for<br />
bra<strong>in</strong>storm<strong>in</strong>g, Metaverse Creativity, 1.1, 51-67.<br />
Ana Marta González is Professor of Moral Philosophy at the<br />
University of Navarra (Spa<strong>in</strong>), where she got her Ph.D. <strong>in</strong> 1997 with a<br />
<strong>research</strong> on the relationship between morality, reason and nature <strong>in</strong><br />
Thomas Aqu<strong>in</strong>as. Between 2002 and 2003, she was a Fulbright Scholar<br />
at Harvard, where she worked with Christ<strong>in</strong>e M. Korsgaard on Kant’s<br />
practical philosophy. She has led several <strong>research</strong> projects explor<strong>in</strong>g<br />
the <strong>in</strong>tersection between moral philosophy and social theory, <strong>in</strong>clud<strong>in</strong>g,<br />
‘Estrategias de dist<strong>in</strong>ción social: perspectiva sociohistórica e<br />
<strong>in</strong>terpretación filosófica’ (2004–2006); ‘Razón práctica y ciencias<br />
sociales en la ilustración escocesa: antecedentes y repercusiones’<br />
(2006–2009); ‘Filosofía moral y ciencias sociales’ (2009–); and<br />
‘Cultura emocional e identidad’ (2010–).<br />
› On fashion and fashion discourses, Critical Studies <strong>in</strong> Fashion & Beauty, 1.1,<br />
65-85.<br />
Michael Evan Goodsite Ph.D. is the first Professor (Chair) of<br />
Atmospheric Chemistry, Climate and Global Processes and Deputy<br />
Departmental Director of Research and Graduate Studies at the<br />
Department of Atmospheric Environment, National Environmental<br />
Research Institute, Aarhus University, Denmark. His expertise is<br />
natural scientific <strong>research</strong> related to the chemistry of the atmosphere<br />
and its relation to climate and global processes. His <strong>research</strong> aims to<br />
<strong>in</strong>tegrate sensible bus<strong>in</strong>ess strategies as a means of address<strong>in</strong>g global<br />
atmospheric and climate change issues through mitigation and<br />
environmental cost and risk analysis at the local governmental level,<br />
thus ensur<strong>in</strong>g susta<strong>in</strong>able and secure adaptation of societies. He has a
Janey Gordon<br />
University of Bedfordshire, Research<br />
Institute for Media, Art & Design,<br />
Park Square, Luton, Bedfordshire,<br />
LU1 3JU, United K<strong>in</strong>gdom<br />
Keywords practice, media, creative<br />
arts, wow factors, QAA benchmarks<br />
Gal<strong>in</strong>a Gornostaeva<br />
London Metropolitan University,<br />
Central House, 59-63 Whitechapel<br />
High Street, London, E1 7PF, United<br />
K<strong>in</strong>gdom<br />
Keywords film and television<br />
<strong>in</strong>dustry, suburbs, decentralization,<br />
London<br />
Paul Gough<br />
University of the West of England,<br />
Bristol School of Art, Media &<br />
Design, VCO, The Farmhouse,<br />
Frenchay Campus, Bristol, Avon,<br />
BS16, United K<strong>in</strong>gdom<br />
Keywords battlefields,<br />
Ph.D. <strong>in</strong> Atmospheric Chemistry from the University of Copenhagen,<br />
an MBA <strong>in</strong> Global Management from the Thunderbird School of<br />
Global Management, an MSc <strong>in</strong> Environmental Eng<strong>in</strong>eer<strong>in</strong>g from the<br />
University of Southern Denmark and a BSc <strong>in</strong> Civil Eng<strong>in</strong>eer<strong>in</strong>g from<br />
the University of Arizona.<br />
› The nautilus – evolv<strong>in</strong>g architecture and city landscapes for future<br />
susta<strong>in</strong>able development, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 7.2, 105-115.<br />
Janey Gordon is Senior Teach<strong>in</strong>g Fellow <strong>in</strong> the School of Media, Art<br />
and Design at the University of Luton. She is Senior Lecturer <strong>in</strong> radio<br />
broadcast<strong>in</strong>g and has <strong>research</strong> <strong>in</strong>terests <strong>in</strong> community radio and mobile<br />
communications. She is the author of The RSL, Ultra Local Radio<br />
(University of Luton Press, 2000).<br />
› The ‘wow’ factors: the assessment of practical media and creative arts<br />
subjects, Art, Design & Communication <strong>in</strong> Higher Education, 3.1, 61-.<br />
Gal<strong>in</strong>a Gornostaeva is a Research Fellow at the Cities Institute, London<br />
Metropolitan University. She has published a number of articles on the<br />
film and television <strong>in</strong>dustry <strong>in</strong> London thanks to the recent ESRC<br />
grant. Her work relates to the issues of ‘creative class’, cultural clusters<br />
and quarters.<br />
› The film and television <strong>in</strong>dustry <strong>in</strong> london’s suburbs: lifestyle of the rich or<br />
losers’ retreat?, Creative Industries Journal, 1.1, 47-71.<br />
Paul Gough is Professor of F<strong>in</strong>e <strong>Arts</strong>, and found<strong>in</strong>g director of the<br />
UWE <strong>research</strong> centre PLaCE. His <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> the processes<br />
and iconography of commemoration, the visual culture of the Great<br />
War, and the representation of peace and conflict <strong>in</strong> the twentieth and<br />
twenty-first centuries. Research projects can be visited at<br />
http://www.vortex.uwe.ac.uk/. On September 2010 he took up the post<br />
of Deputy Vice-Chancellor (Academic) at UWE, Bristol.
commemoration, representation,<br />
remembrance, memorials › Fault l<strong>in</strong>es: Four short observations on places of peace, trauma and contested<br />
remembrance, Journal of Visual Art Practice, 5.1, 39-48.<br />
Fiona Graham<br />
Auckland University, Department of<br />
English, Symonds Street, Auckland<br />
1001, New Zealand<br />
Keywords writ<strong>in</strong>g process,<br />
dramaturge as midwife, community<br />
theatre, metaphor and empowerment<br />
Steve Grand<br />
Keywords simulation, cortex,<br />
synthesis, robotics, self-organization<br />
Rachel C. Granger<br />
Univeristy of Coventry, Dept.<br />
Geography, Environment and Disaster<br />
Management, Priory Street, CV1<br />
Fiona Graham worked for twenty years <strong>in</strong> British theatre <strong>in</strong> education<br />
and community theatre before mov<strong>in</strong>g to Auckland <strong>in</strong> 2004. She is a<br />
freelance playwright and dramaturge <strong>who</strong> has taught at Auckland<br />
University, Goldsmiths College and De Montfort University. Theatre<br />
commissions <strong>in</strong>clude Our Street (Auckland, 2008), Break<strong>in</strong>g Ch<strong>in</strong>a<br />
(Theatre Centre UK, 2002; S<strong>in</strong>gapore, 2004), Between Friends<br />
(Komedia UK, 2000; Portugal, 2001) and Legacy (Massive Theatre,<br />
Auckland, 1998).<br />
› Dramaturge as midwife: the writ<strong>in</strong>g process with<strong>in</strong> a New Zealand<br />
community theatre project, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.2, 209-<br />
216.<br />
Steve Grand is a NESTA Fellow, and holds honorary fellowships <strong>in</strong><br />
Psychology at Cardiff and Biomimetics at Bath, but is otherwise an<br />
<strong>in</strong>dependent scientist, artist or eng<strong>in</strong>eer, accord<strong>in</strong>g to <strong>in</strong>terpretation. He<br />
is Director of Cyberlife Research Ltd. and was formerly Technical<br />
Director of Creature Labs, where he was responsible for the<br />
architecture and programm<strong>in</strong>g of the artificial life game, Creatures.<br />
Currently Grand is develop<strong>in</strong>g artificial life applications as well as an<br />
<strong>in</strong>telligent liv<strong>in</strong>g mach<strong>in</strong>e that embodies a set of hypotheses about the<br />
neurological mechanisms present <strong>in</strong> various species of animal. He<br />
theorizes that every cortical map must be th<strong>in</strong>k<strong>in</strong>g about someth<strong>in</strong>g all<br />
the time, and if there are no signals demand<strong>in</strong>g its attention then the<br />
map will generate some itself.<br />
› Eff<strong>in</strong>g the <strong>in</strong>effable: an eng<strong>in</strong>eer<strong>in</strong>g approach to consciousness, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 1.2, 87-102.<br />
Rachel Granger is a Pr<strong>in</strong>cipal Lecturer <strong>in</strong> the Department for<br />
Geography, Environment and Disaster Management and specializes <strong>in</strong><br />
economic and urban geography, and regeneration. She has published<br />
on a range of economic issues relat<strong>in</strong>g to New Economic Geography<br />
and the creative and knowledge-driven economy. Rachel has worked
5FB, United K<strong>in</strong>gdom<br />
Keywords underground, social<br />
capital, networks, relational mapp<strong>in</strong>g,<br />
creative economy<br />
David Grant<br />
Queen's University, School of<br />
Languages, Literature and <strong>Arts</strong>,<br />
Belfast, BT7 1NN, United K<strong>in</strong>gdom<br />
Keywords role play, actor tra<strong>in</strong><strong>in</strong>g,<br />
applied drama<br />
Kit Grauer<br />
The University of British Columbia,<br />
Scarfe 2215, 2125 Ma<strong>in</strong> Mall, V6T<br />
1Z4, Canada<br />
Keywords embodied heteroglossic<br />
spaces, immigration, identity,<br />
practice-based <strong>research</strong>, arts-based<br />
<strong>research</strong><br />
with <strong>research</strong>ers at the Institute for Creative Enterprise s<strong>in</strong>ce 2007 on<br />
the creative economy, creative cities, digital media and <strong>in</strong> develop<strong>in</strong>g<br />
relational mapp<strong>in</strong>g approaches to the creative economy. Rachel has<br />
worked with Birm<strong>in</strong>gham City University on develop<strong>in</strong>g new<br />
approaches to exam<strong>in</strong><strong>in</strong>g networks <strong>in</strong> the creative economy, explor<strong>in</strong>g<br />
the role of underground scenes, the impact of social media and<br />
communities of practice, and analysis of music and media occupations<br />
and networks <strong>in</strong> the digital economy.<br />
› Re-spatializ<strong>in</strong>g the creative <strong>in</strong>dustries: a relational exam<strong>in</strong>ation of<br />
underground scenes, and professional and organizational lock-<strong>in</strong>, Creative<br />
Industries Journal, 3.1, 47-60.<br />
David Grant is a former Artistic Director of the Lyric Theatre, Belfast<br />
and Programme Director of the Dubl<strong>in</strong> Theatre Festival. He has been a<br />
Lecturer <strong>in</strong> Drama at Queen’s University, Belfast s<strong>in</strong>ce 2000, where he<br />
<strong>research</strong>es and teaches act<strong>in</strong>g, direct<strong>in</strong>g and applied drama.<br />
› Truth, Ethics and Efficacy <strong>in</strong> the Tra<strong>in</strong><strong>in</strong>g of Actors for Role Play, Journal of<br />
<strong>Arts</strong> & Communities, 1.2, 105-114.<br />
Kit Grauer is Associate Professor of Art Education and Curriculum<br />
Studies at The University of British Columbia. She has been <strong>in</strong>volved<br />
<strong>in</strong> national and <strong>in</strong>ternational organizations <strong>in</strong> art education and<br />
presented and published widely <strong>in</strong> this area, w<strong>in</strong>n<strong>in</strong>g numerous awards<br />
for teach<strong>in</strong>g and <strong>research</strong>.<br />
› Research and creation: Socially-engaged art <strong>in</strong> The City of Richgate Project,<br />
International Journal of Education through Art, 6.2, 213-227.<br />
› Render<strong>in</strong>g Embodied Heteroglossic Spaces, Journal of <strong>Arts</strong> & Communities,<br />
1.2, 129-146.<br />
Jane Graves Jane Graves’ obsession with practice arose <strong>in</strong>itially through ballet<br />
tra<strong>in</strong><strong>in</strong>g at Sadler’s Wells ballet school, resurfaced <strong>in</strong> her dyslexia work<br />
and <strong>in</strong> her subsequent practice as a psychoanalytical psychotherapist.<br />
She was a Cultural Studies Lecturer at Central Sa<strong>in</strong>t Mart<strong>in</strong>’s for nearly<br />
thirty years, teach<strong>in</strong>g as a design theoretician. She cont<strong>in</strong>ues to write
Keywords practice, dream-work,<br />
image, symbol, disturbance<br />
Jane Graves<br />
Keywords forgett<strong>in</strong>g, knowledges,<br />
unconscious, freedom, hidden<br />
fragments<br />
Gill Greaves<br />
York Teach<strong>in</strong>g Hospital, Wigg<strong>in</strong>ton<br />
Road, York, YO31 8HE, United<br />
K<strong>in</strong>gdom<br />
Keywords art and design, art therapy<br />
Debbie Green<br />
University of London, Central School<br />
of Speech and Drama, Eton Avenue,<br />
London, NW3 3HY, United K<strong>in</strong>gdom<br />
Keywords power, dysk<strong>in</strong>esia, text,<br />
and publish s<strong>in</strong>ce leav<strong>in</strong>g <strong>in</strong> 1996. Her book, The Secret Lives of<br />
Objects, is funded by Central Sa<strong>in</strong>t Mart<strong>in</strong>’s College of Art and Design<br />
and published by Trafford.<br />
› Mak<strong>in</strong>g <strong>in</strong>terest matter – an analysis of practice <strong>in</strong> psychoanalysis and art,<br />
Journal of Visual Art Practice, 8.1&2, 75-82.<br />
Jane Graves tra<strong>in</strong>ed as a ballet dancer at Sadler’s Wells ballet school.<br />
Subsequently she read English at Oxford and then went on to the<br />
London School of Economics. She began work as a Cultural Studies<br />
Lecturer <strong>in</strong> 1968 at Central Sa<strong>in</strong>t Mart<strong>in</strong>s, teach<strong>in</strong>g psychoanalytical<br />
theory and sociology. For her last ten years she organized and taught a<br />
cultural studies programme for three Masters <strong>in</strong> design. Dur<strong>in</strong>g this<br />
time she became <strong>in</strong>creas<strong>in</strong>gly <strong>in</strong>volved <strong>in</strong> the studio and the mak<strong>in</strong>g<br />
process. She then tra<strong>in</strong>ed and worked as a specialist dyslexia tutor<br />
whilst undergo<strong>in</strong>g eight years of psychotherapy tra<strong>in</strong><strong>in</strong>g. S<strong>in</strong>ce retir<strong>in</strong>g<br />
<strong>in</strong> 1996, she has lived and worked as a psychoanalytical<br />
psychotherapist <strong>in</strong> the East End.<br />
› Conversations heard and unheard:creativity <strong>in</strong> the studio and <strong>in</strong> writ<strong>in</strong>g,<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 13-18.<br />
Gill Greaves is the Art and Design Officer for York Teach<strong>in</strong>g Hospital,<br />
where she works with patients produc<strong>in</strong>g art as a form of distraction<br />
and therapy. She also arranges for local musicians to come and play to<br />
the patients.<br />
› Forgett<strong>in</strong>g the mach<strong>in</strong>e: Patients experiences of engag<strong>in</strong>g <strong>in</strong> artwork while<br />
on renal dialysis, Journal of Applied <strong>Arts</strong> & Health, 2.1, 57-72.<br />
Debbie Green is a part-time senior lecturer <strong>in</strong> Movement for Actors on<br />
the BA (Hons) Act<strong>in</strong>g Pathway at the Central School of Speech and<br />
Drama, University of London. She also teaches on the MA Voice<br />
Studies course and is author of: 2009, ‘Integrated Movement Practices<br />
and Breath’, <strong>in</strong> Breath <strong>in</strong> Action, ed. J. Boston and R. Cook London:<br />
Jessica K<strong>in</strong>gsley.
photography, theatre, voice<br />
Nigel Green<br />
University for the Creative <strong>Arts</strong>-<br />
Maidstone, Oakwood Park, ME16<br />
A8G, United K<strong>in</strong>gdom<br />
Keywords photography, creative<br />
practice, philosophy<br />
Kev<strong>in</strong> Green<br />
Keywords<br />
David Greig<br />
David Greig can be contacted through<br />
Mel Kenyon Mel Kenyon, at<br />
Casarotto Ramsay & Associates Ltd.,<br />
Waverley House, 7–12 Noel Street,<br />
› Dance with time: Movement, when all is said and done, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.2, 205-213.<br />
In 2008 Nigel Green completed a practice based PhD at UCA<br />
Maidstone which looked at the relationship between photography and<br />
the representation of modernist architectural space. His photographic<br />
work has been exhibited and published widely and <strong>in</strong> 2003 he<br />
completed a commission by Photoworks to document the power station<br />
complex at Dungeness <strong>in</strong> Kent. The book, which accompanied the<br />
project, was shortlisted for the 2004 Arles Festival Book Awards.<br />
Other major projects <strong>in</strong>clude ‘Transmodernity: Calais Reconstruction’<br />
which documented the reconstruction architecture of the town and was<br />
published as a book <strong>in</strong> 2001 by the Calais Museum of F<strong>in</strong>e Art.<br />
› Recent PhD Abstracts, Philosophy of Photography, 1.2, 241-245.<br />
Kev<strong>in</strong> Green was born <strong>in</strong> Montreal, Canada <strong>in</strong> 1986. He Graduated<br />
from Architectural Studies B.Sc. at the Bartlett school of architecture <strong>in</strong><br />
2007, and is currently study<strong>in</strong>g his M.A. <strong>in</strong> Sculpture at the Royal<br />
College of Art. He has been work<strong>in</strong>g <strong>in</strong> an <strong>in</strong>formal studio for the past<br />
four years developed alongside two other Bartlett graduates, enter<strong>in</strong>g<br />
architectural competitions across the world. In 2009 they were awarded<br />
ële prix de la sculptureí an <strong>in</strong>ternational competition to complete a<br />
large-scale <strong>in</strong>stallation <strong>in</strong> the South of France and have s<strong>in</strong>ce gone on<br />
to w<strong>in</strong> many competitions worldwide. He has been exhibit<strong>in</strong>g his work<br />
for the past two years and runs an arts <strong>in</strong>itiative encourag<strong>in</strong>g<br />
architectural practices that position themselves on the peripheries of<br />
their discipl<strong>in</strong>e.<br />
› Project Profiles, Design Ecologies, 1.2, 307-321.<br />
David Greig is a lead<strong>in</strong>g Scottish playwright, born <strong>in</strong> Ed<strong>in</strong>burgh <strong>in</strong><br />
1969 and brought up <strong>in</strong> Nigeria. His first play was produced <strong>in</strong><br />
Glasgow <strong>in</strong> 1992 and he has written many plays s<strong>in</strong>ce, produced<br />
worldwide, <strong>in</strong>clud<strong>in</strong>g The Architect (1996),Dr. Korczak’s Example<br />
(2001), San Diego (2003), Damascus (2007), Duns<strong>in</strong>ane (2010), and
London, Scotland, W1F 8GQ, United<br />
K<strong>in</strong>gdom<br />
Keywords theatre, playwright<br />
Diane Gromala<br />
Simon Fraser University, School of<br />
Interactive <strong>Arts</strong> and Technology,<br />
13450-102nd Avenue, 14th Floor,<br />
Central City, Surrey, British<br />
Columbia, V3T 0A3, Canada<br />
Keywords body <strong>in</strong>teraction, flow of<br />
energy, new consciousness, presence<br />
<strong>in</strong>teractive art, phenomenology<br />
Rafi Grosglik<br />
Ben-Gurion University of the Negev,<br />
Department of Sociology &<br />
Anthropology, Department of<br />
Sociology & Anthropology, Ben-<br />
Gurion University of the Negev, Beer<br />
Sheva 84105, Israel<br />
Keywords<br />
Jeffrey B. Grubbs<br />
Roberts Wesleyan College, 2301<br />
Westside Drive, Rochester, NY<br />
14624, United States of America<br />
extensive work with Suspect Culture Theatre Group, which he cofounded.<br />
An Imag<strong>in</strong>ed Sarha was performed for the first time on 7 May<br />
2010, dur<strong>in</strong>g the Mayfesto political theatre festival at the Tron Theatre,<br />
Glasgow.<br />
› An Imag<strong>in</strong>ed Sarha, Journal of <strong>Arts</strong> & Communities, 2.2, 133-144.<br />
Diane Gromala is Associate Director of the School of Interactive Art<br />
and Technology at Simon Fraser University. Gromala has always<br />
pushed the envelope for art beyond traditional canvas and computer<br />
graphics doma<strong>in</strong>s <strong>in</strong>to Virtual Reality (VR) and Physiological<br />
Comput<strong>in</strong>g. Gromala is the co-author, with Jay David Bolter, of<br />
Interaction Design, Digital Art and the Myth of Transparency.<br />
Cambridge: MIT Press (2003).<br />
› Touch<strong>in</strong>g light: A new framework for immersion <strong>in</strong> artistic environments,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 5.1, 3-14.<br />
› The symbiogenic experience: towards a framework for understand<strong>in</strong>g<br />
human–mach<strong>in</strong>e coupl<strong>in</strong>g <strong>in</strong> the <strong>in</strong>teractive arts, Technoetic <strong>Arts</strong>: A Journal<br />
of Speculative Research, 8.1, 11-18.<br />
Rafi Grosglik is a Ph.D. candidate at the department of Sociology &<br />
Anthropology, Ben-Gurion University of the Negev. He holds a<br />
Master's degree <strong>in</strong> Sociology & Anthropology (with dist<strong>in</strong>ction). S<strong>in</strong>ce<br />
2008 he has been do<strong>in</strong>g <strong>research</strong> on the cultural field of organic food <strong>in</strong><br />
Israel. His dissertation deals with cultural globalization and the<br />
sociology of Israeli cul<strong>in</strong>ary culture.<br />
› Global ethical cul<strong>in</strong>ary fashion and a local dish: Organic hummus <strong>in</strong> Israel,<br />
Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 165-184.<br />
Jeffrey B. Grubbs is an Associate Professor and Division Chair of<br />
Visual <strong>Arts</strong> at Roberts Wesleyan College <strong>in</strong> Rochester, New York. He<br />
completed his education at Indiana University, Miami University, Ohio<br />
and f<strong>in</strong>ished his doctoral degree <strong>in</strong> Art Education at the Ohio State<br />
University. Jeff is a pr<strong>in</strong>tmaker and pa<strong>in</strong>ter. He teaches art education<br />
methods courses as well as contemporary art history, foundations of
Keywords pr<strong>in</strong>tmak<strong>in</strong>g, pa<strong>in</strong>t<strong>in</strong>g, art<br />
education<br />
Kathryn Grushka<br />
University of Newcastle, School of<br />
Education, HA121, Hunter Build<strong>in</strong>g,<br />
University Drive, Callaghan, NSW<br />
2308, Australia<br />
Keywords visual education, identity,<br />
socio-cultural narratives, tangential<br />
visibility<br />
Jorge Gumbe<br />
Lugar do Brejo<br />
Keywords ritual, Angola, art<br />
curriculum, ethnography<br />
two-dimensional design and Art 101 (appreciation). Some of Jeff’s<br />
<strong>research</strong> <strong>in</strong>terests are cognitive theory, art criticism, curriculum design,<br />
aesthetics, art education history, media techniques and processes,<br />
theories of creativity and teacher belief <strong>research</strong>.<br />
› Add<strong>in</strong>g a chapter to art education history: visual culture curriculum, Visual<br />
Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 33-45.<br />
Kathryn Meyer Grushka is Senior Lecturer <strong>in</strong> the School of Education<br />
at the University of Newcastle, Australia. Kathryn has a national<br />
reputation as a visual and textile artist and visual art and design<br />
educator. Her current areas of <strong>research</strong> are creative and reflective<br />
practice <strong>in</strong> visual art-mak<strong>in</strong>g, visual culture, identity <strong>in</strong> visual art<br />
education, and visual performative pedagogy. She is also <strong>in</strong>terested <strong>in</strong><br />
social, cultural and ethical understand<strong>in</strong>gs <strong>in</strong> art-mak<strong>in</strong>g; visual<br />
literacy; iconography <strong>in</strong> learn<strong>in</strong>g; identity and learn<strong>in</strong>g; visual narrative<br />
and well-be<strong>in</strong>g and <strong>in</strong>quiry based learn<strong>in</strong>g and design education.<br />
› Tangential visibility: Becom<strong>in</strong>g self through creat<strong>in</strong>g socio-cultural portraits,<br />
International Journal of Education through Art, 4.3, 297-313.<br />
Jorge Gumbe is a practic<strong>in</strong>g pa<strong>in</strong>ter, pr<strong>in</strong>tmaker and art educator from<br />
Angola. He teaches Art Studies at the National School of <strong>Arts</strong> <strong>in</strong><br />
Luanda, and was the school’s first director from 1989 to 1992. In 2003<br />
he was awarded a masters degree <strong>in</strong> Art, Craft and Design Education<br />
from Roehampton University, London where he is currently a doctoral<br />
student. For his Ph.D. he is develop<strong>in</strong>g and test<strong>in</strong>g curriculum<br />
strategies aimed at contribut<strong>in</strong>g to cultural learn<strong>in</strong>g and theory and the<br />
practice of art education <strong>in</strong> postcolonial countries. Specifically he is<br />
develop<strong>in</strong>g, implement<strong>in</strong>g, and evaluat<strong>in</strong>g an art curriculum model<br />
based on ritual with a group of Angolan primary school teachers us<strong>in</strong>g<br />
action <strong>research</strong>.<br />
› Research<strong>in</strong>g ritual as content for Angolan art education, International<br />
Journal of Education through Art, 3.1, 19-36.<br />
Folkert Haanstra Folkert Haanstra is Professor of <strong>Arts</strong> Education at the Amsterdam
Amsterdam School of the <strong>Arts</strong>, P.O.<br />
Box 15079, Amsterdam, 1001 MB,<br />
Netherlands<br />
Keywords art education, authentic<br />
learn<strong>in</strong>g, school art, local art, teacher<br />
tra<strong>in</strong><strong>in</strong>g<br />
Riikka Haapala<strong>in</strong>en<br />
University of Hels<strong>in</strong>ki, Fabian<strong>in</strong>katu<br />
24, 00100 Hels<strong>in</strong>ki, 09 1911, F<strong>in</strong>land<br />
Keywords contemporary art,<br />
Maffesoli, situational aesthetics,<br />
museums, Pistoletto<br />
Sue Hack<strong>in</strong>g<br />
University of Central Lancashire,<br />
School of Health, Preston,<br />
Lancashire, PR1 2HE, United<br />
K<strong>in</strong>gdom<br />
Keywords social science, mental<br />
health, distractive <strong>in</strong>terventions<br />
School of the <strong>Arts</strong>. He holds the special chair for Cultural Education<br />
and Cultural participation at the Utrecht University.<br />
› Teachers' and students' perceptions of good art lessons and good art teach<strong>in</strong>g,<br />
International Journal of Education through Art, 4.1, 44-55.<br />
› Reviews, International Journal of Education through Art, 7.1, 97-101.<br />
› The U-curve go<strong>in</strong>g Dutch: Cultural differences <strong>in</strong> judgements of artwork<br />
from different age and expertise groups, International Journal of Education<br />
through Art, 7.2, 153-169.<br />
Riikka Haapala<strong>in</strong>en holds an MA <strong>in</strong> art history and BEd <strong>in</strong> educational<br />
science (adult education). Currently, she is lecturer at the Aalto<br />
University's Art Department where she is <strong>in</strong> charge of the MA<br />
programme for Curat<strong>in</strong>g, Manag<strong>in</strong>g, and Mediat<strong>in</strong>g Art. She has<br />
previously been the Head of Education <strong>in</strong> the Museum of<br />
Contemporary Art Kiasma <strong>in</strong> Hels<strong>in</strong>ki and <strong>research</strong>er at the F<strong>in</strong>nish<br />
National Gallery's Art Museum Development Departmet. She<br />
is writ<strong>in</strong>g her Ph.D. <strong>in</strong> art history at the University of Hels<strong>in</strong>ki. Her<br />
<strong>research</strong> deals with the social aesthetics of the everyday life and<br />
participatory aspects of contemporary art. Haapala<strong>in</strong>en has published<br />
on history of art, art history writ<strong>in</strong>g and museum education.<br />
› Contemporary art and the role of museums as situational media, Journal of<br />
Visual Art Practice, 5.3, 153-166.<br />
Sue Hack<strong>in</strong>g works for the School of Health, University of Central<br />
Lancashire. Her current <strong>research</strong> topics <strong>in</strong>clude the impact of visual and<br />
creative methodologies <strong>in</strong> social science <strong>research</strong>. She is also <strong>in</strong>terested<br />
<strong>in</strong> the evaluation and knowledge transfer potential for prevention<br />
science through community based and distractive <strong>in</strong>terventions.<br />
› REVIEWS, Journal of Applied <strong>Arts</strong> & Health, 2.1, 93-101.<br />
Edward Hadley Edward Hadley is the author of The Elegies of Ted Hughes, (Palgrave<br />
Macmillan, 2010) and found<strong>in</strong>g editor of The Ted Hughes Society<br />
Journal. He lectures <strong>in</strong> English Literature for the Open University and
Keywords<br />
Nick Haeffner<br />
London Metropolitan University,,<br />
Media <strong>Arts</strong>, 41 Commercial Road,<br />
London, E1 1LA, United K<strong>in</strong>gdom<br />
Keywords Alfred Hitchcock, Michael<br />
W<strong>in</strong>terbottom, realism, contemporary<br />
photography, curat<strong>in</strong>g, art history,<br />
pedagogy, new media, critical theory<br />
Cecilia Häggström<br />
University of Gothenburg, School of<br />
Design and Craft, Box 131, Goteborg,<br />
SE 405 30, Sweden<br />
Keywords alternative models of<br />
writ<strong>in</strong>g, design, design solutions,<br />
th<strong>in</strong>k<strong>in</strong>g through writ<strong>in</strong>g, storytell<strong>in</strong>g<br />
is currently writ<strong>in</strong>g his next book, Andrew Motion: A Critical Study, to<br />
be published by Liverpool University Press (2014).<br />
› Andrew Motion: Author<strong>in</strong>g the self, Book 2.0, 1.1, 65-73.<br />
Dr. Nick Haeffner is Senior Lecturer <strong>in</strong> Communications at London<br />
Metropolitan University, where he teaches modules on the history,<br />
theory, practice and economics of film and photography. He also<br />
teaches art history and critical theory on the MA <strong>in</strong> Curat<strong>in</strong>g the<br />
Contemporary run <strong>in</strong> conjunction with the Whitechapel Gallery. He is<br />
the author of Alfred Hitchcock (Pearson 2005); several articles on<br />
Hitchcock and several articles relat<strong>in</strong>g to media and cultural theory. He<br />
co-curated Re-Possessed, a travell<strong>in</strong>g new media exhibition, and was<br />
on the editorial board of Vertigo magaz<strong>in</strong>e. He is currently work<strong>in</strong>g on<br />
a monograph about film director Michael W<strong>in</strong>terbottom and his<br />
company, Revolution Films.<br />
› What's wrong with the primacy of theory?, Journal of Visual Art Practice,<br />
7.2, 173-189.<br />
After complet<strong>in</strong>g a degree <strong>in</strong> Design <strong>in</strong> 1986 at the School of Design<br />
and Craft, University of Gothenburg, Häggström studied Theory of<br />
Science and Research for a year and a half, followed by a Ph.D. <strong>in</strong><br />
Theoretical and Applied Aesthetics/Architecture, at Chalmers’<br />
University of Technology, which she completed <strong>in</strong> 1996. This was<br />
followed by a four-year post-doctoral <strong>research</strong> post at the School of<br />
Architecture, Lund University. As vice president of the board (1999–<br />
2002), Häggström was <strong>in</strong>volved <strong>in</strong> establish<strong>in</strong>g <strong>research</strong>-education at<br />
the Faculty of F<strong>in</strong>e and Applied Art. In 2001 she began tutor<strong>in</strong>g the<br />
first Ph.D. students <strong>in</strong> Design, and s<strong>in</strong>ce 2003 has also taught Theory<br />
Science and Research, and Academic Writ<strong>in</strong>g at Masters level.<br />
› The relevance of academic writ<strong>in</strong>g <strong>in</strong> design education: academic writ<strong>in</strong>g as<br />
a tool for structur<strong>in</strong>g reasons, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.2,<br />
151-160.
Chelsea Ha<strong>in</strong>es<br />
Keywords<br />
Cather<strong>in</strong>e Hakim<br />
Keywords<br />
Kai Hakkara<strong>in</strong>en<br />
University of Hels<strong>in</strong>ki, Department of<br />
Psychology, Box 9,<br />
Siltavuorenpenger 20 D, Hels<strong>in</strong>ki, 14,<br />
F<strong>in</strong>land<br />
Keywords design experiment,<br />
collaborative design<strong>in</strong>g, textile design<br />
project, virtual design studio<br />
accessibility, art education<br />
› BOOK REVIEWS, Journal of Curatorial Studies, 1.1, 121-130.<br />
Dr Cather<strong>in</strong>e Hakim has worked as a sociologist at the London School<br />
of Economics. Her book Honey Money: The Power of Erotic Capital<br />
was published by Allen Lane <strong>in</strong> September 2011 and attracted<br />
immediate attention around the world. See www.cather<strong>in</strong>ehakim.org<br />
and www.eroticcapitalbook.com<br />
› BOOK REPORTS, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 249-268.<br />
Professor Kai Hakkara<strong>in</strong>en, Ph.D., is an act<strong>in</strong>g Professor of Empirical<br />
Education at the Department of Education, University of Hels<strong>in</strong>ki.<br />
Simultaneously, he is the director of the Centre for Research on<br />
Networked Learn<strong>in</strong>g and Knowledge Build<strong>in</strong>g<br />
(www.hels<strong>in</strong>ki.fi/science/networkedlearn<strong>in</strong>g) at the Department of<br />
Psychology, University of Hels<strong>in</strong>ki. With his colleagues, he has, for<br />
fifteen years, carried out learn<strong>in</strong>g <strong>research</strong> based on psychology and<br />
cognitive science at all levels, from elementary to higher education.<br />
Many <strong>in</strong>vestigations have <strong>in</strong>cluded a strong theoretical component and<br />
have addressed how learn<strong>in</strong>g and human <strong>in</strong>tellectual resources can be<br />
expanded us<strong>in</strong>g collaborative technologies based on the <strong>in</strong>formation<br />
and communication technologies. Dur<strong>in</strong>g recent years, Hakkara<strong>in</strong>en’s<br />
<strong>research</strong> activity has expanded toward <strong>in</strong>vestigat<strong>in</strong>g personal and<br />
collective learn<strong>in</strong>g processes tak<strong>in</strong>g place <strong>in</strong> knowledge-<strong>in</strong>tensive<br />
organizations, <strong>in</strong>clud<strong>in</strong>g <strong>in</strong>novative private corporations.<br />
› Three design experiments for computer-supported collaborative design, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 4.2, 101-120.<br />
› Concept maps <strong>in</strong> the design of an accessible C<strong>in</strong>emaSense service, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 8.1, 27-55.<br />
Francis Halsall Francis Halsall is a lecturer <strong>in</strong> modern and contemporary Art History at<br />
University College Cork. He studied Art History at University of
National College of Art & Design,<br />
Visual Culture, Dubl<strong>in</strong>, Ireland<br />
Keywords non-sites, iconography,<br />
deconstruction, multi-sensory<br />
perception medium, postmedium<br />
Andy Hamilton<br />
University of Durham, Department of<br />
Philosophy, Durham, DH1 3HP,<br />
United K<strong>in</strong>gdom<br />
Keywords aesthetics of nature, Kant,<br />
Adorno<br />
Paul Hamilton<br />
University of Ulster, Monkstown,<br />
Newtownabbey, BT37 0, United<br />
K<strong>in</strong>gdom<br />
Keywords computers, pr<strong>in</strong>tmak<strong>in</strong>g,<br />
pedagogy<br />
Glasgow (MA and Ph.D.). He is the author of Systems of Art (Peter<br />
Lang, 2007) and the co-editor (with Julia Jansen and Tony OConnor)<br />
of the collection Rediscover<strong>in</strong>g Aesthetics (forthcom<strong>in</strong>g). He is<br />
currently work<strong>in</strong>g on a major postdoctoral project on Niklas<br />
Luhmann’s theory of art.<br />
› One Sense is Never Enough, Journal of Visual Art Practice, 3.2, 103-122.<br />
› Editorial Introduction Aesthetics and its objects – challenges from art and<br />
experience, Journal of Visual Art Practice, 5.3, 123-126.<br />
› No medium just a shell: how works of art configure their medium, Journal of<br />
Visual Art Practice, 6.1, 45-60.<br />
Andy Hamilton is a lecturer <strong>in</strong> Philosophy at Durham University. He<br />
has published many articles on philosophy of m<strong>in</strong>d and aesthetics. He<br />
is complet<strong>in</strong>g a book on aesthetics and music for Cont<strong>in</strong>uum, and a<br />
monograph on philosophy of m<strong>in</strong>d, memory and the body: A study of<br />
self-consciousness. He is a long-stand<strong>in</strong>g contributor on contemporary<br />
music to The Wire and other magaz<strong>in</strong>es, and has completed a book<br />
with jazz saxophonist Lee Konitz, The Art of the Improviser:<br />
Conversations with Lee Konitz on Jazz and Improvisation<br />
(forthcom<strong>in</strong>g, University of Michigan Press).<br />
› Indeterm<strong>in</strong>acy and reciprocity: contrasts and connections between natural<br />
and artistic beauty, Journal of Visual Art Practice, 5.3, 183-194.<br />
Paul Hamilton teaches on the HND Graphic Design, and HND<br />
Photography courses and is Course Leader on the new ‘Top-Up’ BA<br />
(Hons.) Creative Imag<strong>in</strong>g degree at Upper Bann Institute of Further<br />
and Higher Education, Northern Ireland. His background is <strong>in</strong> textile<br />
design, graphic design, photography and pr<strong>in</strong>tmak<strong>in</strong>g and he is<br />
currently study<strong>in</strong>g part-time for a D.Phil. at the University of Ulster.<br />
› Research <strong>in</strong> progress: the pr<strong>in</strong>tmak<strong>in</strong>g studio of the future <strong>in</strong> higher<br />
education?, Art, Design & Communication <strong>in</strong> Higher Education, 2.1, 67-.<br />
Christ<strong>in</strong>e Hamilton Christ<strong>in</strong>e Hamilton is the Director of the Institute for Creative
Coventry University, Institute for<br />
Creative Enterprise, Coventry<br />
University, CV1 2NE, United<br />
K<strong>in</strong>gdom<br />
Keywords underground, social<br />
capital, networks, relational mapp<strong>in</strong>g,<br />
creative economy<br />
Jillian Hamilton<br />
Queensland University of<br />
Technology, Creative Industries<br />
Faculty, Kelv<strong>in</strong> Grove, Queensland,<br />
4059, Australia<br />
Keywords media, design,art,<br />
exegesis, practice-led <strong>research</strong><br />
Mart<strong>in</strong> M. Hanczyc<br />
University of Southern Denmark,<br />
Department of Physics and<br />
Chemistry, Campusvej 55, 5230<br />
Odense M, Denmark<br />
Keywords chemical comput<strong>in</strong>g,<br />
Enterprise at Coventry University, an <strong>in</strong>stitute she established <strong>in</strong> 2007.<br />
Before tak<strong>in</strong>g her role at Coventry University, Christ<strong>in</strong>e was the<br />
found<strong>in</strong>g Director of the Centre for Cultural Policy Research (2001–<br />
2007) at the University of Glasgow. She has published on a range of<br />
cultural policy issues notably on the role of the national arts company<br />
and on the development of a national cultural strategy <strong>in</strong> devolved<br />
Scotland and on the development of rural arts. Prior to this she worked<br />
for 25 years <strong>in</strong> the cultural sector <strong>in</strong>clud<strong>in</strong>g Deputy Director, Culture<br />
and Leisure, Glasgow City Council; Director of Plann<strong>in</strong>g and<br />
Development, Scottish <strong>Arts</strong> Council; and for a range of arts<br />
organisations. Christ<strong>in</strong>e is a Governor of Glasgow School of Art, a<br />
Board member of the Belgrade Theatre, Coventry and a Fellow of the<br />
RSA.<br />
› Re-spatializ<strong>in</strong>g the creative <strong>in</strong>dustries: a relational exam<strong>in</strong>ation of<br />
underground scenes, and professional and organizational lock-<strong>in</strong>, Creative<br />
Industries Journal, 3.1, 47-60.<br />
Dr. Jillian Hamilton is a Senior Lecturer <strong>in</strong> Art and Design, Creative<br />
Industries Faculty, Queensland University of Technology (QUT). Her<br />
current practice-led <strong>research</strong> <strong>in</strong>volves the convergence of mobile<br />
technologies, geo-position<strong>in</strong>g and three-dimensional mapp<strong>in</strong>g.<br />
Hamilton’s theoretical writ<strong>in</strong>g <strong>in</strong>cludes <strong>in</strong>terdiscipl<strong>in</strong>ary <strong>in</strong>terpretations<br />
of media art, avatars and <strong>in</strong>teraction design, and the methodologies of<br />
practice-led <strong>research</strong> <strong>in</strong> art and design. She was the editor of ‘Intimate<br />
Transactions: Art, Exhibition and Interaction with<strong>in</strong> Distributed<br />
Network Environments’ (ACID 2006). She has supervised higher<strong>research</strong><br />
degree students <strong>in</strong> theoretical studies as well as practice-led<br />
<strong>research</strong> <strong>in</strong> <strong>in</strong>ter-media art, experimental film, animation, visual<br />
communication and <strong>in</strong>teraction design.<br />
› A connective model for the practice-led <strong>research</strong> exegesis: An analysis of<br />
content and structure, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.1, 31-44.<br />
Mart<strong>in</strong> Hanczyc is Associate Professor at the Institute of Physics and<br />
Chemistry and the Centre for Fundamental Liv<strong>in</strong>g Technology (FL<strong>in</strong>T)<br />
<strong>in</strong> Denmark. He is develop<strong>in</strong>g novel synthetic chemical systems based<br />
on the properties of liv<strong>in</strong>g systems. These synthetic systems are termed<br />
‘protocells’ as they are model systems of primitive liv<strong>in</strong>g cells and<br />
chemical examples of ‘artificial’ life. He has previously also held the<br />
position of laboratory director at the European Centre for Liv<strong>in</strong>g<br />
Technology <strong>in</strong> Venice, Italy and was chief chemist at ProtoLife Srl <strong>in</strong>
smart chemical agents, chemotaxis,<br />
liv<strong>in</strong>g technology, artificial life, first<br />
cell<br />
Chris Hand<br />
K<strong>in</strong>gston Bus<strong>in</strong>ess School,<br />
Department of Strategy Market<strong>in</strong>g<br />
and Entrepreneurship, K<strong>in</strong>gston Hill,<br />
K<strong>in</strong>gston upon Thames, Surrey, KT2<br />
7LB, United K<strong>in</strong>gdom<br />
Keywords arts market<strong>in</strong>g, cultural<br />
economics, film <strong>in</strong>dustry, audience<br />
behaviour<br />
Cordelia Hanel<br />
Studio Hanel, Unit 2<br />
Keywords architecture, <strong>in</strong>terior<br />
architecture, archeology, ecology,<br />
<strong>in</strong>terior design<br />
Venice, Italy. He received a bachelor’s degree <strong>in</strong> Biology from<br />
Pennsylvania State University and a doctorate <strong>in</strong> Genetics from Yale<br />
University. His <strong>in</strong>terest <strong>in</strong> the synthesis of a protocell stems from his<br />
tra<strong>in</strong><strong>in</strong>g <strong>in</strong> population genetics and experimental evolution.<br />
› Protocells as smart agents for architectural design, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 7.2, 117-120.<br />
› The search for a first cell under the maximalism design pr<strong>in</strong>ciple, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 7.2, 153-164.<br />
Dr. Chris Hand is a Senior Lecturer <strong>in</strong> the Department of Strategy,<br />
Market<strong>in</strong>g and Entrepreneurship, and Course Director for the MSc <strong>in</strong><br />
Management and Bus<strong>in</strong>ess Studies Research at K<strong>in</strong>gston Bus<strong>in</strong>ess<br />
School. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude cultural economics (<strong>in</strong> particular<br />
the film <strong>in</strong>dustry), arts market<strong>in</strong>g and consumer behaviour.<br />
› Modell<strong>in</strong>g patterns of attendance at perform<strong>in</strong>g arts events: The case of<br />
music <strong>in</strong> the United K<strong>in</strong>gdom, Creative Industries Journal, 2.3, 259-271.<br />
Cordelia Hänel, M Arch UCL (Dist.), Dipl. Ing. (FH) London based<br />
(Interior- ) Architect, as well as co-founder of P.U.R.A (Platform for<br />
Urban Research & Architecture), Cordelia Hänel is also work<strong>in</strong>g under<br />
'Studio Hänel'- a practice focus<strong>in</strong>g on <strong>research</strong> <strong>in</strong> the area of (Interior-)<br />
Architecture. After her Masters degree at the Bartlett School of<br />
Architecture, UCL <strong>in</strong> 2008/2009 Cordelia's ma<strong>in</strong> <strong>in</strong>terests lie <strong>in</strong> areas<br />
of archaeology <strong>in</strong> relation to architecture and New Media Art. She has<br />
been awarded several prices <strong>in</strong>clud<strong>in</strong>g an annual scholarship by the<br />
German Academic Exchange Service and a dist<strong>in</strong>ction for her Masters<br />
at the Bartlett School of Architecture, UCL. Cordelia is a regular guest<br />
critique at the Royal College of Art, London as well as Bartlett School<br />
of Architecture, London.<br />
› Project profiles, Design Ecologies, 1.1, 153-.<br />
Rikke Hansen Rikke Hansen lectures <strong>in</strong> Critical Practice at the School of Art, Sir John
London Metropolitan University, Sir<br />
John Cass Faculty of Art, Media &<br />
Design, Central House, 61<br />
Whitechapel High Street, London, E1<br />
7PE, United K<strong>in</strong>gdom<br />
Keywords animalization, taxidermy,<br />
sk<strong>in</strong>, animal<br />
Sophie Harbour<br />
Keywords employability, f<strong>in</strong>e art,<br />
higher education<br />
Kirsten Hardie<br />
<strong>Arts</strong> University College at<br />
Bournemouth, School of Visual <strong>Arts</strong>,<br />
Fernbarrow, Wallisdown Road, Poole,<br />
Dorset, BH12 5HH, United K<strong>in</strong>gdom<br />
Keywords student-centred,<br />
experiential, problem-based, enquiry<br />
based learn<strong>in</strong>g<br />
Cass Faculty of Art, Media and Design, London Metropolitan<br />
University. Her <strong>research</strong> <strong>in</strong>terests centre on the <strong>in</strong>terface between<br />
animal studies and twentieth-century aesthetics. She is currently<br />
pursu<strong>in</strong>g a Humanities and Cultural Studies Ph.D. at the London<br />
Consortium with a thesis entitled ‘The Sublime Animal: Contemporary<br />
Art and the Animal Aesthetic’, developed <strong>in</strong> dialogue with a larger,<br />
three-year project at Tate Brita<strong>in</strong> on ‘The Sublime Object: Nature, Art<br />
and Language’. She lectures on ‘Gender Performatives’, ‘Art and<br />
Autobiography’, ‘Animal Performances’, ‘Introduction to Barthes’ and<br />
‘Photography: Where Image Meets Text’. Hansen is a writer and art<br />
critic, and a regular contributor to the United K<strong>in</strong>gdom-based journal<br />
Art Monthly, where she writes on issues perta<strong>in</strong><strong>in</strong>g to performance,<br />
video and <strong>in</strong>stallation art.<br />
› Animal sk<strong>in</strong>s <strong>in</strong> contemporary art, Journal of Visual Art Practice, 9.1, 9-16.<br />
Sophie Harbour has an MA F<strong>in</strong>e Art <strong>in</strong> Context from The Univerity of<br />
the West of England. She has published a variety of papers <strong>in</strong> the area<br />
of graduate employment <strong>in</strong> art and design. Her current area of <strong>in</strong>terest<br />
is the significance and application of a f<strong>in</strong>e art undergraduate<br />
curriculum to the current graduate employment market.<br />
› Employability issues for f<strong>in</strong>e art educators, Art, Design & Communication <strong>in</strong><br />
Higher Education, 4.2, 121-.<br />
Kirsten Hardie is Pr<strong>in</strong>cipal Lecturer <strong>in</strong> Graphic Design History and<br />
Cultural and Theoretical Studies at The <strong>Arts</strong> University College at<br />
Bournemouth (AUCB). She is a UK National Teach<strong>in</strong>g Fellow (NTF)<br />
- as awarded by the Higher Education Academy (HEA) <strong>in</strong> 2004. She<br />
started teach<strong>in</strong>g <strong>in</strong> 1987 and has developed an <strong>in</strong>ternational reputation<br />
for <strong>in</strong>novative approaches to learn<strong>in</strong>g and teach<strong>in</strong>g and a passion for<br />
design. Specializ<strong>in</strong>g <strong>in</strong> graphic design history and theory, she has<br />
extensive teach<strong>in</strong>g experience <strong>in</strong>ternationally across a range of levels<br />
and discipl<strong>in</strong>es with<strong>in</strong> art, design and media. Her <strong>research</strong> and<br />
scholarly activities extend across a range of diverse fields. Work<strong>in</strong>g<br />
<strong>in</strong>ternationally, cross-discipl<strong>in</strong>e, creat<strong>in</strong>g and develop<strong>in</strong>g learn<strong>in</strong>g and<br />
teach<strong>in</strong>g case-studies and materials, her activities extend to a<br />
significant number of collaborative and advisory roles across HE –<br />
<strong>in</strong>clud<strong>in</strong>g External Exam<strong>in</strong>erships.
Christ<strong>in</strong>e Hardy<br />
Nott<strong>in</strong>gham Trent University, School<br />
of Art and Design, Arkwright<br />
Build<strong>in</strong>g, Burton St, Nott<strong>in</strong>gham,<br />
Nott<strong>in</strong>ghamshire, NG1 4BU, United<br />
K<strong>in</strong>gdom<br />
Keywords reflection and learn<strong>in</strong>g,<br />
reflective practice, journal, barriers to<br />
reflection, assessment of reflection<br />
Dr. Beth Harland<br />
University of Southampton, Graphics,<br />
Art and Media, 31c Earlsfield Road,<br />
Wandsworth, London, SW18 3DB,<br />
United K<strong>in</strong>gdom<br />
Keywords pa<strong>in</strong>t<strong>in</strong>g, digital imag<strong>in</strong>g,<br />
temporality, haptic, modes of address<br />
› On Trial: teach<strong>in</strong>g without talk<strong>in</strong>g – teacher as silent witness Research <strong>in</strong><br />
Progress, Art, Design & Communication <strong>in</strong> Higher Education, 5.3, 213-226.<br />
Christ<strong>in</strong>e Hardy is Senior Lecturer <strong>in</strong> Publish<strong>in</strong>g Management at the<br />
Nott<strong>in</strong>gham Trent University, Nott<strong>in</strong>gham, England. She is Course<br />
Leader for an undergraduate programme <strong>in</strong> Graphic Communications<br />
Management and a postgraduate programme <strong>in</strong> Publish<strong>in</strong>g. Her first<br />
degree is <strong>in</strong> Psychology, her second an MBA. She comb<strong>in</strong>es<br />
psychology and bus<strong>in</strong>ess management <strong>in</strong> her <strong>research</strong> activities and is<br />
currently work<strong>in</strong>g towards a Ph.D., registered at Nott<strong>in</strong>gham<br />
University, look<strong>in</strong>g at adult read<strong>in</strong>g habits and motivations. Other<br />
current areas of <strong>research</strong> <strong>in</strong>clude pedagogy, particularly reflective<br />
practice. Prior to becom<strong>in</strong>g a lecturer she worked <strong>in</strong> occupational<br />
psychology for a year and <strong>in</strong> human resource management/tra<strong>in</strong><strong>in</strong>g for<br />
various organizations <strong>in</strong> the United K<strong>in</strong>gdom, latterly at a management<br />
level.<br />
› The art of reflection: reflective practice <strong>in</strong> publish<strong>in</strong>g education, Art, Design<br />
& Communication <strong>in</strong> Higher Education, 3.1, 17-32.<br />
Beth Harland is a London-based artist <strong>who</strong> studied at the Rusk<strong>in</strong>,<br />
Oxford and Royal College of Art, London and is currently Director of<br />
the Graduate School and Reader <strong>in</strong> F<strong>in</strong>e Art, W<strong>in</strong>chester School of Art,<br />
University of Southampton. She has exhibited widely and<br />
<strong>in</strong>ternationally <strong>in</strong>clud<strong>in</strong>g Gallery 33 Berl<strong>in</strong>, Whitechapel Gallery<br />
London, Gasworks London, John Moores Walker Art Gallery<br />
Liverpool, University of Stanislav, California, Five Years London,<br />
Cornerhouse Manchester, Dean Clough Halifax, Aspex Portsmouth,<br />
The Nunnery London, Arnolf<strong>in</strong>i Bristol, Kolo Gallery Gdansk, Studio<br />
Gallery Budapest, Mapp<strong>in</strong> Art Gallery Sheffield, 5020 Galerie,<br />
Salzburg , Norwich Gallery, W<strong>in</strong>chester Gallery. Research <strong>in</strong>cludes:<br />
PhD. University of Southampton, AHRC award, Abbey Award, British<br />
School at Rome, and residency at Milchhof, Berl<strong>in</strong>.<br />
› A Fragment of Time <strong>in</strong> the Pure State; Pa<strong>in</strong>t<strong>in</strong>g <strong>in</strong> Search of Haptic Time,<br />
Journal of Visual Art Practice, 8.1&2, 37-58.
Rob Harle<br />
Deak<strong>in</strong> University Alumni<br />
Association, PO Box 20182, Nimb<strong>in</strong>,<br />
New South Wales, NSW 2480,<br />
Australia<br />
Keywords consciousness, new media,<br />
philosophy, comparative religion,<br />
digital art<br />
Kerry Harman<br />
Middlesex University, Institute of<br />
Work Based Learn<strong>in</strong>g, London, NW4<br />
4BT, United K<strong>in</strong>gdom<br />
Keywords assessment for learn<strong>in</strong>g,<br />
design pedagogy, the Global Studio,<br />
educational discourses, collaborative<br />
learn<strong>in</strong>g<br />
Graeme Harper<br />
Oakland University, Director, The<br />
Honors College, Vandenberg Hall,<br />
Oakland University, MI 48309, USA<br />
Rob Harle is an artist, writer and <strong>research</strong>er especially concerned with<br />
the nature of consciousness, embodiment and techno-augmentation.<br />
His current work, both art practice and academic <strong>research</strong> explores the<br />
nature of the so-called transition from human to posthuman, a<br />
phenomenon he calls the techno-metamorphosis of humanity. Past<br />
artwork was ma<strong>in</strong>ly draw<strong>in</strong>g and sculpture, current work is exclusively<br />
digital/computer created images. Writ<strong>in</strong>g work <strong>in</strong>cludes both film &<br />
book reviews, poetry and academic essays. These are published <strong>in</strong><br />
numerous journals, magaz<strong>in</strong>es and books. His formal academic studies<br />
comprise: Philosophy of M<strong>in</strong>d, Comparative Religion, Architecture and<br />
Psychotherapy. He is an active member of Leonardo, Metapsychology<br />
Onl<strong>in</strong>e and an editorial member of Journal of F<strong>in</strong>e & Studio Art.<br />
› Biobehavioural basis of art, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 6.3, 259-268.<br />
› Creativity, chance and the role of the unconscious <strong>in</strong> the creation of orig<strong>in</strong>al<br />
literature and art, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.3,<br />
311-322.<br />
Prior to tak<strong>in</strong>g up a <strong>research</strong> post at Middlesex University Kerry<br />
Harman was a Researcher at the Centre for Excellence <strong>in</strong> Teach<strong>in</strong>g and<br />
Learn<strong>in</strong>g (CETL) at Northumbria University, United K<strong>in</strong>gdom. She has<br />
over twenty years comb<strong>in</strong>ed practice-based, <strong>research</strong> and teach<strong>in</strong>g<br />
experience <strong>in</strong> the overlapp<strong>in</strong>g fields of Tra<strong>in</strong><strong>in</strong>g and Development,<br />
Workplace Learn<strong>in</strong>g and Organisation Studies. While work<strong>in</strong>g at the<br />
CETL, Dr Harman conducted <strong>research</strong> on Assessment Cultures <strong>in</strong><br />
Higher Education where she explored the <strong>in</strong>terrelationships between<br />
language, discipl<strong>in</strong>ary cultures, academic identities and assessment<br />
practices. She also coord<strong>in</strong>ated a module on the MA Design<br />
programme at Northumbria University on Intercultural<br />
Communication.<br />
› Intersections: The utility of an ‘Assessment for Learn<strong>in</strong>g’ discourse for<br />
Design educators, Art, Design & Communication <strong>in</strong> Higher Education, 8.2,<br />
123-134.<br />
Professor Graeme Harper is Associate Editor of the Creative Industries<br />
Journal. Now Director of the Honors College at Oakland University,<br />
Michigan, he has worked at universities <strong>in</strong> the United States, Australia<br />
and the United K<strong>in</strong>gdom, where he established the National Institute<br />
for Excellence <strong>in</strong> the Creative Industries. He rema<strong>in</strong>s an Honorary<br />
Professor <strong>in</strong> the UK. Also a Professor of Creative Writ<strong>in</strong>g, he has
Keywords Welsh culture,<br />
nationalism, performance, Wales,<br />
Australia, ontology<br />
Anthony Harrild<br />
Anglia Rusk<strong>in</strong> University<br />
Keywords<br />
Dew Harrison<br />
University of Wolverhampton, School<br />
of Art and Design, Mol<strong>in</strong>eux Street,<br />
Wolverhampton, West Midlands,<br />
WV1 1DT, United K<strong>in</strong>gdom<br />
Keywords creative th<strong>in</strong>k<strong>in</strong>g,<br />
daydream, lim<strong>in</strong>al state, associative<br />
media, virtual-real<br />
published creative and critical work, <strong>in</strong>clud<strong>in</strong>g On Creative Writ<strong>in</strong>g<br />
(MLM, 2010), Moon Dance (Parlor, 2010) and Sound and Music <strong>in</strong><br />
Film and the Visual Media: A Critical Overview (Cont<strong>in</strong>uum, 2009).<br />
› Creative writ<strong>in</strong>g: words as practice-led <strong>research</strong>, Journal of Visual Art<br />
Practice, 7.2, 161-171.<br />
› A summary of The Americans for the <strong>Arts</strong> Economic Impact of America’s<br />
Non-profit <strong>Arts</strong> and Culture Industry, Creative Industries Journal, 1.1, 73-<br />
75.<br />
› Creative Platforms: harness<strong>in</strong>g expertise,ensur<strong>in</strong>g success, Creative<br />
Industries Journal, 1.2, 195-196.<br />
› Interview with Ed Wright, Creative Industries Journal, 4.1, 111-116.<br />
› Practice-led <strong>research</strong> and the future of the creative <strong>in</strong>dustries, Creative<br />
Industries Journal, 4.1, 5-17.<br />
› Interview with Dan P<strong>in</strong>chbeck, Creative Industries Journal, 4.1, 87-95.<br />
› Interview with Elizabeth Grierson, Creative Industries Journal, 4.1, 97-110.<br />
› Great Writ<strong>in</strong>g 2010, 1618 June 2010, 13th Annual International Creative<br />
Writ<strong>in</strong>g Conference, United K<strong>in</strong>gdom, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 3.3, 341-345.<br />
› 'Do judge a book by its cover', Book 2.0, 1.1, 3-6.<br />
Dew Harrison is a <strong>research</strong>er and practitioner <strong>in</strong> virtual and<br />
computermediated art currently work<strong>in</strong>g as Associate Dean <strong>in</strong> the<br />
School of Art and Design at the University of Wolverhampton. With a<br />
B.A. <strong>in</strong> F<strong>in</strong>e Art, an M.A. <strong>in</strong> History and Theory of Contemporary Art,<br />
an M.Sc. <strong>in</strong> Computer Science and a Ph.D. from the Planetary<br />
Collegium, CAiiA, <strong>in</strong> Interactive Art, her practice undertakes a critical<br />
exploration of Conceptual Art, semantic media and <strong>in</strong>tuitive <strong>in</strong>terfaces<br />
where she often work’s collaboratively and considers virtual curation<br />
an art practice. She cont<strong>in</strong>ues to show <strong>in</strong>ternationally and has over 50<br />
publications to date spann<strong>in</strong>g digital art, consciousness studies,<br />
<strong>in</strong>teractive games, art history and museology.<br />
› A merg<strong>in</strong>g of m<strong>in</strong>dsets through collision and collusion, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 5.1, 55-.
David Harte<br />
Birm<strong>in</strong>gham City University,<br />
Birm<strong>in</strong>gham School of Media, Perry<br />
Barr, Birm<strong>in</strong>gham, B42 2SU, United<br />
K<strong>in</strong>gdom<br />
Keywords creative <strong>in</strong>dustries, audiovisual,<br />
West Midlands, policy,<br />
strategies<br />
John Harvey<br />
Keywords photography, spiritualism,<br />
psychic, consciousness, science,<br />
technology<br />
C<strong>in</strong>dy Hasio<br />
Keywords social awareness,<br />
transformation, empowerment,<br />
community arts<br />
› Realiz<strong>in</strong>g the virtual, Metaverse Creativity, 1.2, 185-195.<br />
David Harte is a Senior Lecturer <strong>in</strong> Media and Communication at<br />
Birm<strong>in</strong>gham City University, where he has developed strong l<strong>in</strong>ks to<br />
the regional development agency runn<strong>in</strong>g a major creative <strong>in</strong>dustries<br />
support programme on their behalf and contribut<strong>in</strong>g to the development<br />
of regional clusters. He has recently completed a secondment with<br />
Birm<strong>in</strong>gham City Council as Economic Development Manager for<br />
their Digital Birm<strong>in</strong>gham programme.<br />
› Issues <strong>in</strong> Develop<strong>in</strong>g an Audio-Visual Cluster <strong>in</strong> the West Midlands,<br />
Creative Industries Journal, 2.1, 105-112.<br />
John Harvey is an art historian and an art practitioner. His <strong>research</strong><br />
field is the visual culture of religion. In art practice, John Harvey’s<br />
work explores non-iconic attitudes to religious art through an<br />
engagement with visual and textual sources, theological and cultural<br />
ideas, and systemic processes. His art-historical studies engage the<br />
visual imagery of popular piety, spiritual manifestations, and work<strong>in</strong>gclass<br />
culture, chiefly <strong>in</strong> Protestant and sub-Christian traditions.<br />
› The Photographic Medium: Representation, Reconstitution, Consciousness,<br />
and Collaboration <strong>in</strong> Early-Twentieth-Century Spiritualism, Technoetic <strong>Arts</strong>:<br />
A Journal of Speculative Research, 2.2, 109-.<br />
C<strong>in</strong>dy Hasio is a Teach<strong>in</strong>g Fellow and doctoral student at the<br />
University of North Texas <strong>in</strong> Denton, Texas, United States. Her<br />
<strong>research</strong> focuses on community arts, and how it relates to connected<br />
know<strong>in</strong>g and lifelong learn<strong>in</strong>g. Her doctoral <strong>research</strong> describes how<br />
veterans empower themselves through the shar<strong>in</strong>g and reflect<strong>in</strong>g upon<br />
experiences with<strong>in</strong> an arts and crafts environment <strong>in</strong> Dallas, Texas. She<br />
has been volunteer<strong>in</strong>g at the Veteran’s Hospital <strong>in</strong> Dallas for over two<br />
years and is currently volunteer<strong>in</strong>g at the Fort Worth Vet Center. She<br />
has presented at the National Art Education Association, the Texas Art<br />
Education Association and the International Society for Education<br />
through Art conferences. She is currently on the National Art<br />
Education Association Community <strong>Arts</strong> committee.
Peter Hatton<br />
University of Kent, School of Art,<br />
Canterbury, Kent, CT2 7NZ, United<br />
K<strong>in</strong>gdom<br />
Keywords representation of place,<br />
spatial practice, physical environment,<br />
layered identity, urban environment,<br />
Karen Hayes<br />
Keywords<br />
Richard Heatly<br />
Herefordshire College of Technology,<br />
Folly Lane, Hereford, Herefordshire,<br />
HR1 1LT, United K<strong>in</strong>gdom<br />
Keywords dissertation, practice, art<br />
and design, phenomenography,<br />
learn<strong>in</strong>g<br />
› Veterans and an arts and crafts programme: a community of understand<strong>in</strong>g<br />
and hope, International Journal of Education through Art, 6.1, 75-84.<br />
Peter Hatton teaches on the Design and Public Art Course at Chelsea<br />
College of Art and Design and also at Richmond College. He has<br />
worked with Val Murray s<strong>in</strong>ce 1987 as members of TEA, all members<br />
hav<strong>in</strong>g studied sculpture or 3D design. Projects have, <strong>in</strong> the past,<br />
<strong>in</strong>cluded work for Tate Liverpool, The South Bank and<br />
artranspenn<strong>in</strong>e98. More recently, they have worked <strong>in</strong> St Petersburg<br />
and for CUBE.<br />
› What is this place? The work of TEA, Journal of Visual Art Practice, 2.3,<br />
155-.<br />
› REVIEWS, Journal of Applied <strong>Arts</strong> & Health, 2.2, 187-198.<br />
Richard Heatly taught theory to design and media students at the<br />
University of Wales College, Newport where he was Assistant Head of<br />
School at the time when this <strong>research</strong> was undertaken, and has s<strong>in</strong>ce<br />
taken up the post of Pr<strong>in</strong>cipal at Herefordshire College of Art and<br />
Design.<br />
› How art, media and design students conceive of the relation between the<br />
dissertation and practice, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 4.1, 5-16.<br />
Ian Henderson Dr. Ian Henderson was foundation editor of Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema (2007-2010) and lectures <strong>in</strong> Australian literature and film at
Keywords Australian literature,<br />
Australian c<strong>in</strong>ema, Aborig<strong>in</strong>al<br />
Australians, <strong>in</strong>digenous modernity<br />
Neil Henderson<br />
Anglia Rusk<strong>in</strong> University,<br />
Department of Communication, Film,<br />
and Media, Cambridge Campus, East<br />
Road, Cambridge, CB1 1PT, United<br />
K<strong>in</strong>gdom<br />
Keywords film, animation, Polaroid,<br />
photography<br />
Colette Henry<br />
Centre for Veter<strong>in</strong>ary & Bioveter<strong>in</strong>ary<br />
Enterprise, The Royal<br />
Veter<strong>in</strong>ary College, University of<br />
London, Hawkshead Lane, North<br />
Mymms, Hatfield, Herts, AL9 7TA,<br />
United K<strong>in</strong>gdom<br />
Keywords creative <strong>in</strong>dustries, gender,<br />
entrepreneurship, fashion, publish<strong>in</strong>g<br />
Norbert Herber<br />
Indiana University, Bloom<strong>in</strong>gton,<br />
K<strong>in</strong>g's College London. His current film-studies <strong>research</strong> focuses on<br />
the representation of Aborig<strong>in</strong>al Australians and concepts of<br />
Indigenous modernity.<br />
› Case study:Varieties of us: a case study <strong>in</strong> boundary and landscape <strong>in</strong><br />
Aotearoa, Design Ecologies, 1.1, 135-152.<br />
Neil Henderson is a Senior Lecturer <strong>in</strong> Film Studies, at Anglia Rusk<strong>in</strong><br />
University. He studied at the Kent Institute of Art and Design and the<br />
Slade School of Art. His work has been shown nationally and<br />
<strong>in</strong>ternationally, with screen<strong>in</strong>gs at the Diversions Film Festival,<br />
Ed<strong>in</strong>burgh Film Festival Centre, Rod<strong>in</strong>a C<strong>in</strong>ema, St Petersburg, the<br />
Onion City Film Festival, Chicago, Kettle's Yard Cambridge, The<br />
Whitechapel Gallery London, and Anthology Film Archive, New York.<br />
In 2009 he was shortlisted for the Jerwood Draw<strong>in</strong>g prize.<br />
› Empty<strong>in</strong>g frames, Animation Practice, Process & Production, 1.1, 77-82.<br />
Colette Henry, Ph.D., is the Norbrook Professor of Bus<strong>in</strong>ess &<br />
Enterprise, at the Centre for Veter<strong>in</strong>ary & Bio-veter<strong>in</strong>ary Enterprise,<br />
The Royal Veter<strong>in</strong>ary College, University of London. Prior to this, she<br />
was Head of the Department of Bus<strong>in</strong>ess Studies and Director of the<br />
Centre for Entrepreneurship Research at Dundalk Institute of<br />
Technology, Ireland. She has published widely on the topic of<br />
entrepreneurship education and tra<strong>in</strong><strong>in</strong>g; programme effectiveness;<br />
women’s entrepreneurship and the creative <strong>in</strong>dustries. Colette is the<br />
found<strong>in</strong>g editor of Emerald’s International Journal of Gender and<br />
Entrepreneurship (IJGE), an active member of the US-orig<strong>in</strong>ated<br />
DIANA International Research Project, and President of ISBE(Institute<br />
for Entrepreneurship and Small Bus<strong>in</strong>ess).<br />
› Women and the creative <strong>in</strong>dustries: explor<strong>in</strong>g the popular appeal, Creative<br />
Industries Journal, 2.2, 143-160.<br />
Norbert Herber is a Lecturer at Indiana University Bloom<strong>in</strong>gton <strong>in</strong> the<br />
Department of Telecommunications. He is a musician and a sound<br />
artist <strong>who</strong>se <strong>research</strong> explores the relationship between people and
Radio-TV Center, 1229 E. 7th St,<br />
Bloom<strong>in</strong>gton, IN, 47405, United<br />
States of America<br />
Keywords <strong>in</strong>teractivity, mobile<br />
media, psychogeography, rhythmanalysis,<br />
Amergent music<br />
Fernando Hernandez<br />
University of Barcelona, Centre for<br />
the Study of Change <strong>in</strong> Culture and<br />
Education, Adolf Florensa s/n 08028,<br />
Barcelona, Spa<strong>in</strong><br />
Keywords body representation, visual<br />
culture, education, <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
Anita Ng Heung Sang<br />
Flat F, 11/F, Block 8, Castello, 69,<br />
Siu Lek Yuen Road, Shat<strong>in</strong>, N.T.,<br />
Hong Kong<br />
Keywords community-based art<br />
education, pre-service teachers,<br />
ceramics<br />
sound with<strong>in</strong> mediated environments. Norbert’s artistic work can be<br />
described as amergent music – an <strong>in</strong>novative generative style that uses<br />
artificial life systems to susta<strong>in</strong> cont<strong>in</strong>uous, real-time modification and<br />
adaptation. Us<strong>in</strong>g this approach he is focused on creat<strong>in</strong>g sound and<br />
music <strong>in</strong> digital environments for art, enterta<strong>in</strong>ment and<br />
communications. Norbert is a Ph.D. candidate <strong>in</strong> the Planetary<br />
Collegium through the University of Plymouth, UK where he studies<br />
under the supervision of John Matthias, Roy Ascott and Brian Eno. His<br />
works have been performed/exhibited <strong>in</strong> Europe, Asia, South America<br />
and <strong>in</strong> the United States. Current projects can be heard onl<strong>in</strong>e at<br />
http://www.x-net.com.<br />
› Dérive entre Mille Sons: a psychogeographic approach to mobile music and<br />
mediated <strong>in</strong>teraction, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
7.1, 3-12.<br />
Fernando Hernández is Professor of Visual <strong>Arts</strong> Education and Visual<br />
Culture Studies <strong>in</strong> the Art Education Division of the F<strong>in</strong>e <strong>Arts</strong> Faculty<br />
of the University of Barcelona. He has co-coord<strong>in</strong>ated the<br />
Experimental Program of Secondary Art Teacher Education there for<br />
fifteen years. He also coord<strong>in</strong>ates an Inter-university doctoral<br />
programme called ‘Visual <strong>Arts</strong> and Education: A constructivist<br />
approach’, and directs the Masters Course Studies <strong>in</strong> Visual Culture.<br />
S<strong>in</strong>ce 2001 he has been co-coord<strong>in</strong>ator of the Centre of Studies for<br />
Change <strong>in</strong> Culture and Education based at the University. He<br />
understands art education as a form of cultural knowledge <strong>in</strong> which the<br />
development of critical understand<strong>in</strong>g plays a key role.<br />
› Beyond Lucian Freud: Explor<strong>in</strong>g body representations <strong>in</strong> children's culture,<br />
International Journal of Education through Art, 2.2, 105-118.<br />
Dr. Anita Ng Heung Sang completed her B.Ed. (Hons.) and M.Ed. at<br />
the University of Liverpool, and her Ph.D. at the University of East<br />
Anglia <strong>in</strong> 2007. She is currently Assistant Professor <strong>in</strong> the Cultural and<br />
Creative <strong>Arts</strong> Department of the Hong Kong Institute of Education.<br />
Before jo<strong>in</strong><strong>in</strong>g the Institute, she taught visual arts at primary and<br />
secondary schools <strong>in</strong> Hong Kong for over ten years. Between 1989 and<br />
1993, she worked as an art <strong>in</strong>spector for the Hong Kong Education<br />
Department. Her book The Development of Hong Kong Art Education<br />
<strong>in</strong> Sixty Years, 1939–1999, was published <strong>in</strong> 2000.
Andy Hewitt<br />
University of Wolverhampton, School<br />
of Art and Design, Monl<strong>in</strong>eux Street,<br />
Wolverhampton, WV1 1SB, United<br />
K<strong>in</strong>gdom<br />
Keywords art, social and cultural<br />
theory, criticism, art education,<br />
popular culture<br />
Ian Heywood<br />
Lancaster University, Lancaster<br />
Centre for the Contemporary <strong>Arts</strong><br />
(LICA), The Roundhouse, Lancaster,<br />
LA1 4YW, United K<strong>in</strong>gdom<br />
Keywords mak<strong>in</strong>g, materials and<br />
processes, conversation, poetic<br />
s<strong>in</strong>gularity, reflection and practice<br />
Richard Hickman<br />
University of Cambridge, University<br />
of Cambridge Faculty of Education,<br />
184 Hills Rd., Cambridge, CB2 8PQ,<br />
United K<strong>in</strong>gdom<br />
› Success through collaboration: a community-based model for pre-service<br />
teachers, International Journal of Education through Art, 5.2&3, 187-200.<br />
Andy Hewitt (BA, MA) is an artist and educator currently teach<strong>in</strong>g f<strong>in</strong>e<br />
art at the University of Wolverhampton. He is about to complete his<br />
Ph.D. at Chelsea College of Art and Design entitled ‘Art, participation<br />
and counterpublics <strong>in</strong> hegemonic cultural policy’. He is co-editor of the<br />
Art and Public Sphere. Hewitt works <strong>in</strong> collaboration with Dave Beech<br />
and Mel Jordan as the Freee art collective. Freee recent exhibitions<br />
<strong>in</strong>clude Vectors of the Possible, BAK, Utrecht, Touched, Liverpool<br />
Biennial, When Guests Become Host, CulturgestPorto, Portugal, The<br />
Peckham Pledge, Open<strong>in</strong>g Exhibition, Peckham Space, London, and<br />
DORM, the Model, Sligo, Ireland.<br />
› Privatiz<strong>in</strong>g the public: Three rhetorics of art’s public good <strong>in</strong> ‘Third Way’<br />
cultural policy, Art & the Public Sphere, 1.1, 19-36.<br />
Ian Heywood taught for many years on the BA F<strong>in</strong>e Art course at<br />
Leeds Metropolitan University. He is now Research Fellow at the<br />
Lancaster Institute for the Contemporary <strong>Arts</strong>, Lancaster University.<br />
He has written and published widely <strong>in</strong> the fields of art, social and<br />
cultural theory, and criticism, <strong>in</strong>clud<strong>in</strong>g Social Theories of Art: A<br />
Critique, and Interpret<strong>in</strong>g Visual Culture. His most recent essay is on<br />
the pa<strong>in</strong>t<strong>in</strong>g of Paula Kane (<strong>in</strong> Paula Kane: Studio Wall, International<br />
Centre for F<strong>in</strong>e Art Research, London University of the <strong>Arts</strong>, 2009). He<br />
is also co-edit<strong>in</strong>g (with Barry Sandywell) a Handbook of Visual<br />
Culture, published by Berg <strong>in</strong> 2011.<br />
› Mak<strong>in</strong>g and the teach<strong>in</strong>g studio, Journal of Visual Art Practice, 8.3, 195-204.<br />
Richard Hickman is Reader <strong>in</strong> Art Education <strong>in</strong> the University of<br />
Cambridge, Faculty of Education where he is course leader for PGCE<br />
Art & Design. His teach<strong>in</strong>g experience <strong>in</strong>cludes thirteen years as a<br />
teacher of art and design and as a lecturer <strong>in</strong> art and design education<br />
s<strong>in</strong>ce 1985. Richard is the author of Why We Make Art and Why it is<br />
Taught (<strong>Intellect</strong>, 2005); he edited Research <strong>in</strong> Art Education (<strong>Intellect</strong>,<br />
2008); Art Education 11–18 (Cont<strong>in</strong>uum, 2004) and Critical Studies <strong>in</strong>
Keywords art education, design Art & Design Education (<strong>Intellect</strong>, 2005).<br />
Ted Hiebert<br />
University of Wash<strong>in</strong>gton Bothell,<br />
Interdiscipl<strong>in</strong>ary <strong>Arts</strong> and Sciences,<br />
Box 358530, 18115 Campus Way<br />
NE, Bothell, WA, 98011, United<br />
States of America<br />
Keywords psychic photography,<br />
halluc<strong>in</strong>ation, impossibility,<br />
performance, postmodernism<br />
Peter Higgs<br />
Queensland Institute of Technology,<br />
Centre of Excellence for Creative<br />
Industries and Innovation, Z1 - 515<br />
Musk Avenue, Kelv<strong>in</strong> Grove, QLD<br />
4059, Australia<br />
Keywords mapp<strong>in</strong>g, <strong>in</strong>ternational<br />
comparative mapp<strong>in</strong>g, Australia,<br />
United K<strong>in</strong>gdom, employment<br />
statistics<br />
Robert Hillier<br />
Norwich University College of the<br />
<strong>Arts</strong>, School of Design, 3-7 Redwell<br />
St, Norwich, Norfolk, NR2 4SN,<br />
United K<strong>in</strong>gdom<br />
Keywords sylexiad, dyslexic,<br />
developmental typeface test<strong>in</strong>g,<br />
› Engagement <strong>in</strong> the arts and self-efficacy of adolescent women, Visual<br />
Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 9-19.<br />
Ted Hiebert is a Canadian visual artist and theorist. His large-scale<br />
photographic works have been shown across Canada <strong>in</strong> public galleries<br />
and artist-run centres and <strong>in</strong> group exhibitions <strong>in</strong>ternationally. His<br />
theoretical writ<strong>in</strong>gs have appeared <strong>in</strong> journals such as CTheory,<br />
Performance Research, Technoetic <strong>Arts</strong>, The Psychoanalytic Review,<br />
among others, as well as <strong>in</strong> catalogues and exhibition monographs.<br />
Hiebert is a member of the Editorial Board of CTheory journal and is<br />
Assistant Professor <strong>in</strong> the Department of Interdiscipl<strong>in</strong>ary <strong>Arts</strong> and<br />
Sciences at the University of Wash<strong>in</strong>gton Bothell.<br />
› Halluc<strong>in</strong>at<strong>in</strong>g Ted Serios: the impossibility of failed performativity,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 3.3, 135-154.<br />
Peter Higgs is Senior Research Fellow, Australian Research Council<br />
Centre of Excellence for Creative Industries and Innovation,<br />
Queensland University of Technology. He is manager of the centre’s<br />
mapp<strong>in</strong>g projects and has co-authored several of the key reports which<br />
have <strong>in</strong>formed national, state and local creative <strong>in</strong>dustries policy<br />
development <strong>in</strong> Australia.<br />
› Creative Industries Mapp<strong>in</strong>g: Where have we come from and where are we<br />
go<strong>in</strong>g?, Creative Industries Journal, 1.1, 7-30.<br />
Dr. Robert Hillier is the MA Design Course Leader at Norwich<br />
University College of the <strong>Arts</strong> where he has designed and developed<br />
the Sylexiad range of fonts. He has presented his <strong>research</strong> f<strong>in</strong>d<strong>in</strong>gs at<br />
the ‘Fast Type Slow Type’ Conference <strong>in</strong> Birm<strong>in</strong>gham (2006) and at<br />
design <strong>in</strong>stitutions throughout the United K<strong>in</strong>gdom and Europe.<br />
Sylexiad has been <strong>in</strong>cluded as part of the ‘NEVERODDOREVEN’<br />
exhibition at The Serpent<strong>in</strong>e Gallery, London (2007) and has been<br />
featured <strong>in</strong> design publications such as Ultrabold, United K<strong>in</strong>gdom
legibility, d<strong>in</strong>e (Spr<strong>in</strong>g, 2007), Novum, Germany (April, 2008) and Étapes, France<br />
(May, 2008). He has won many awards with<strong>in</strong> the field of <strong>in</strong>formation<br />
book design and has exhibited work <strong>in</strong> the United K<strong>in</strong>gdom, United<br />
States, Germany and South Korea.<br />
Mirja Hiltunen<br />
University of Lapland, Faculty of Art<br />
& Design, Department of Art<br />
Education, Rovaniemi, PL 122,<br />
96101, F<strong>in</strong>land<br />
Keywords education, performative<br />
art, community, empowerment<br />
Claire H<strong>in</strong>d<br />
York St John University, Faculty of<br />
<strong>Arts</strong>, Lord Mayors Walk, York, YO31<br />
7EX, United K<strong>in</strong>gdom<br />
Keywords dark play, games,<br />
adaptation, performance, writ<strong>in</strong>g,<br />
adaptation<br />
› Sylexiad. A typeface for the adult dyslexic reader, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 1.3, 275-291.<br />
Mirja Hiltunen (Doctor of <strong>Arts</strong>, M.Ed.) is a University Lecturer <strong>in</strong> Art<br />
Education <strong>in</strong> the Faculty of Art and design at the University of<br />
Lapland. She has devised a performative art strategy as part of her<br />
work <strong>in</strong> art teacher education and has been lead<strong>in</strong>g community-based<br />
art workshops and projects <strong>in</strong> Lapland for over ten years. She has<br />
recently completed her Ph.D. on community-based art-education <strong>in</strong> the<br />
northern sociocultural context. Her study comb<strong>in</strong>es concrete cultural<br />
activities, development of these activities through art education<br />
projects, and theoretical exam<strong>in</strong>ation of the subject area. The placespecificity,<br />
performativity and social dimensions of art are of particular<br />
<strong>in</strong>terest to her, and she has published numerous papers <strong>in</strong> this area.<br />
› The Fire Fox: a multi-sensory approach to art education <strong>in</strong> Lapland,<br />
International Journal of Education through Art, 1.2, 161-178.<br />
Claire H<strong>in</strong>d is a senior lecturer at York St John University where she<br />
specializes <strong>in</strong> conceptual performance practice, the ensemble and<br />
performance writ<strong>in</strong>g. She has a Ph.D. <strong>in</strong> practice led <strong>research</strong> from the<br />
University of Leeds and was supervised by Professor Mick Wallis and<br />
Dr. Anna Fenemore. Her work <strong>in</strong>vestigates the playful, ironic and<br />
psychoanalytical processes of mak<strong>in</strong>g live and mediated performance<br />
with<strong>in</strong> enclosed <strong>in</strong>timate spaces and works through the attitudes,<br />
encounters repetitions and drives of rehearsal. Claire has directed<br />
performance workshops <strong>in</strong> St. Petersburg, developed for over n<strong>in</strong>e<br />
years cross-cultural performance projects at the Sibiu International<br />
Theatre Festival Romania, has worked frequently <strong>in</strong> the United States<br />
as an artist and lecturer and most recently co-curated the <strong>in</strong>ternational<br />
Writ<strong>in</strong>g Encounters symposium at York St John University.<br />
› Editorial: Writ<strong>in</strong>g encounters with<strong>in</strong> performance and pedagogical practice,<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.1, 5-13.<br />
› Editorial: Space and place: writ<strong>in</strong>g encounters self, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 2.2, 133-138.
H. L. Hix<br />
University of Wyom<strong>in</strong>g, English<br />
Department 3353, Laramie, WY,<br />
82071, United States of America<br />
Keywords discourse, rational,<br />
commercial, authoritarian, humanity<br />
Hilda Ho<br />
Murray Royal Hospital, Department<br />
of Forensic Psychiatry, Muirhall<br />
Road, Perth, PH2 7BH, United<br />
K<strong>in</strong>gdom<br />
Keywords mentally disordered<br />
offenders, forensic psychiatry, mental<br />
health, creativity, drama, theatre<br />
Darryl Hock<strong>in</strong>g<br />
Auckland University of Technology -<br />
AUT, School of Languages, Faculty<br />
of <strong>Arts</strong>, Private Bag 92006, Auckland,<br />
1020, New Zealand<br />
Keywords discourse analysis,<br />
academic literacies, genre analysis,<br />
genre theory, professional<br />
communication, art and design<br />
› Reviews:A performance <strong>in</strong>stallation featured at the Writ<strong>in</strong>g Encounters<br />
symposium at York St John University, September 2008, Journal of Writ<strong>in</strong>g<br />
<strong>in</strong> Creative Practice, 2.2, 251-253.<br />
› Reviews, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 355-356.<br />
H. L. Hix teaches at the University of Wyom<strong>in</strong>g. His recent poetry<br />
books <strong>in</strong>clude a verse biography of the artist Petra Soesemann, called<br />
Incident Light (Etruscan Press, 2009), and a 'selected poems' called<br />
First Fire, Then Birds (Etruscan, 2010). His website is<br />
www.hlhix.com.<br />
› Design as rational discourse, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.1, 123-127.<br />
Dr. Hilda Ho, MBChB, MRCPsych, MPhil, is the Regional Consultant<br />
Forensic Psychiatrist for the north of Scotland. Her current post<br />
<strong>in</strong>volves the plann<strong>in</strong>g of a new medium-secure unit for the north of<br />
Scotland. Dr. Hilda won the RCPsych <strong>in</strong> Scotland Research Prize 2010<br />
with her paper 'Violence risk assessment: the use of the PCL-SV, HCR-<br />
20 and VRAG to predict violence <strong>in</strong> mentally disordered offenders<br />
discharged from a medium secure unit <strong>in</strong> Scotland'. She was presented<br />
with her prize by the Chairman of the RCPsych <strong>in</strong> Scotland, Dr. Peter<br />
Rice at the Apex Hotel, Ed<strong>in</strong>burgh.<br />
› A descriptive analysis of a pilot drama project <strong>in</strong> a forensic psychiatric<br />
sett<strong>in</strong>g, Journal of Applied <strong>Arts</strong> & Health, 1.3, 267-280.<br />
Darryl Hock<strong>in</strong>g is a senior lecturer <strong>in</strong> the School of Languages and<br />
Social Sciences at AUT University, New Zealand. His <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude academic literacies and the analysis of communicative<br />
practices <strong>in</strong> art and design sett<strong>in</strong>gs. His current <strong>research</strong> focus <strong>in</strong>volves<br />
an exploration of the l<strong>in</strong>guistic and rhetorical characteristics of the<br />
'brief' genre, its conditions of production and reception, and how these<br />
impact on and discursively facilitate student creative action.<br />
› Synergy <strong>in</strong> art and language: position<strong>in</strong>g the language specialist <strong>in</strong>
education, creative briefs, creativity,<br />
mixed-methodology, multiperspectives,<br />
communicative<br />
<strong>in</strong>teraction<br />
L<strong>in</strong> Holdridge<br />
Keywords Ph.D., <strong>research</strong><br />
methodology, Marcel Duchamp,<br />
Pierre Bonnard, art education<br />
Andrea Holland<br />
Norwich University College of the<br />
<strong>Arts</strong>, Francis House, 3-7 Redwell<br />
Street, Norwich, NR2 4SN, United<br />
K<strong>in</strong>gdom<br />
Keywords collaboration, creativity,<br />
language, the visual, <strong>in</strong>novation<br />
Edward Hollis<br />
Ed<strong>in</strong>burgh College of Art, Interior<br />
Design, 74 Lauriston Place,<br />
Ed<strong>in</strong>burgh, EH3 9DF, United<br />
K<strong>in</strong>gdom<br />
Keywords architecture, art education,<br />
creative practice<br />
contemporary f<strong>in</strong>e art study, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 3.3, 149-162.<br />
L<strong>in</strong> Holdridge has produced a <strong>research</strong> report on the higher degree<br />
<strong>research</strong> culture <strong>in</strong> art and design and the perform<strong>in</strong>g arts at the<br />
University of Plymouth and <strong>in</strong> surround<strong>in</strong>g regional <strong>in</strong>stitutions. She is<br />
currently engaged upon collaborative <strong>research</strong> projects <strong>in</strong> the field of<br />
creative practice <strong>research</strong> and is based at the University of Plymouth.<br />
› The Enactment of Th<strong>in</strong>k<strong>in</strong>g: creative practice <strong>research</strong> degrees, Journal of<br />
Visual Art Practice, 2.1, 11-11.<br />
› The enactment of th<strong>in</strong>k<strong>in</strong>g: the creative practice Ph.D., Journal of Visual Art<br />
Practice, 4.2, 197-.<br />
Andrea Holland is the course leader at Norwich University College of<br />
the <strong>Arts</strong> for MA: Writ<strong>in</strong>g the Visual, while also teach<strong>in</strong>g undergraduate<br />
Creative Writ<strong>in</strong>g at UEA. She lived <strong>in</strong> the United States for fourteen<br />
years where she earned a Master of F<strong>in</strong>e <strong>Arts</strong> <strong>in</strong> Creative Writ<strong>in</strong>g at the<br />
University of Massachusetts. Her collection of poetry, Borrowed, was<br />
co-w<strong>in</strong>ner of the Poetry Bus<strong>in</strong>ess contest. She has published broadly <strong>in</strong><br />
the United K<strong>in</strong>gdom and the United States and is also a freelance<br />
reader and writer. She currently lives <strong>in</strong> Norwich with her two sons.<br />
› The good collusion defeats the Lone Ranger, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 1.2, 117-121.<br />
Edward Hollis studied Architecture at the Universities of Cambridge<br />
and Ed<strong>in</strong>burgh before jo<strong>in</strong><strong>in</strong>g a practice, work<strong>in</strong>g first on ru<strong>in</strong>s and<br />
follies <strong>in</strong> the coastal lagoons of Sri Lanka and then on Victorian villas,<br />
old breweries and town halls <strong>in</strong> Scotland. He now teaches Interior<br />
Design at Ed<strong>in</strong>burgh College of Art.<br />
› Tell tail tales: Mark Leckey and Edward Hollis <strong>in</strong> conversation, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 279-291.
Marjo van Hoorn<br />
Cultuurnetwerk Nederland, P.O. Box<br />
61, Utrecht, 3500 AB, Netherlands<br />
Keywords art education, culture<br />
Barbara Howey<br />
Columbia University, United<br />
K<strong>in</strong>gdom<br />
Keywords art, creative practice,<br />
cultural memory, mixed media, textile<br />
art<br />
Alison Hsiang-Yi Liu<br />
National Taiwan Normal University,<br />
Art Education, <strong>Arts</strong> Department, 19,<br />
Da-Tong West Road,, Taoyuan,<br />
Taoyuan, 33065, Taiwan<br />
Keywords onl<strong>in</strong>e community,<br />
blogg<strong>in</strong>g, museum websites, visitor<br />
studies<br />
Marjo van Hoorn is a senior staff member <strong>in</strong> Research and Policy at<br />
Cultuurnetwerk Nederland, the national centre of expertise for <strong>Arts</strong><br />
Education <strong>in</strong> the Netherlands. Her current work <strong>in</strong>cludes <strong>research</strong> on<br />
national arts education policy and direct<strong>in</strong>g the monitor<strong>in</strong>g and<br />
evaluation of Cultuurnetwerk Nederlands’ own activities.<br />
› The U-curve go<strong>in</strong>g Dutch: Cultural differences <strong>in</strong> judgements of artwork<br />
from different age and expertise groups, International Journal of Education<br />
through Art, 7.2, 153-169.<br />
Barbara Howey is Course Leader for the MA Art, Design and<br />
Education, and MA Coord<strong>in</strong>ator. Her <strong>research</strong> has focused on issues of<br />
personal and cultural memory. She has pursued this through<br />
exhibitions, conference papers and publications. The form of the<br />
creative work has been mostly <strong>in</strong> pa<strong>in</strong>t<strong>in</strong>g but she has collaborated with<br />
a weaver to produce a jacquard weave and have made short video<br />
pieces. Her current <strong>research</strong> at Columbia University is <strong>research</strong><strong>in</strong>g <strong>in</strong>to<br />
<strong>in</strong>stitutional memory.<br />
› Self/Pa<strong>in</strong>t<strong>in</strong>g Practice/Social Practice, Journal of Visual Art Practice, 1.3,<br />
136-149.<br />
Alison works <strong>in</strong> the Museum of World Religions as an Exhibition<br />
Designer as well as Assistant Curator. She holds a doctorate from the<br />
Department of Art Education, National Taiwan Normal University, and<br />
is still enrolled <strong>in</strong> an onl<strong>in</strong>e MA program <strong>in</strong> Museum Studies at Johns<br />
Hopk<strong>in</strong>s University, USA. She holds her first MA <strong>in</strong> Visual Art and<br />
Creative <strong>Arts</strong> <strong>in</strong> Education from the University of Exeter, UK. Prior to<br />
her current academic pursuits, Alison worked as a primary school<br />
teacher for ten years, with an enthusiasm for arts teach<strong>in</strong>g and<br />
curriculum design. She has been <strong>in</strong>volved <strong>in</strong> museum-based local<br />
community practice, worked as a docent <strong>in</strong> an art museum biennale,<br />
and assisted a national <strong>research</strong> <strong>in</strong>itiative apply<strong>in</strong>g museum digital<br />
collections <strong>in</strong>to arts classrooms. For her Ph.D. she has drawn on this<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary background <strong>in</strong> art and museum education to study the<br />
potential of the Web.<br />
› Us<strong>in</strong>g onl<strong>in</strong>e communities to attract museum visitors, International Journal<br />
of Education through Art, 4.3, 259-274.
Zhifan Hu<br />
Education Science College, Shanghai<br />
Normal University, No.100 Gui L<strong>in</strong><br />
road, Shanghai, 200234, Ch<strong>in</strong>a<br />
Keywords visual culture, Ch<strong>in</strong>ese<br />
teenagers, art education, images<br />
Rob Huddleston<br />
Keywords <strong>in</strong>novation, creative,<br />
design, technology, lasers<br />
L<strong>in</strong>dsay Hughes<br />
<strong>Arts</strong> Council Wales, Visual Art, 155<br />
Somerset Road, Bristol, Avon, BS4<br />
2JA, United K<strong>in</strong>gdom<br />
Keywords context, viewer,<br />
contemporary, experience<br />
Zhifan Hu is Professor of Art Education at Shanghai Normal<br />
University. His major <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> art education and history<br />
of Ch<strong>in</strong>ese art. He has edited and co-edited books and papers on the<br />
follow<strong>in</strong>g art education topics: the curriculum and teach<strong>in</strong>g <strong>in</strong> the arts<br />
(2003); prospects for art education (2002); understand<strong>in</strong>g art <strong>in</strong> context<br />
(2004); the evolution of art teach<strong>in</strong>g materials <strong>in</strong> primary and<br />
secondary schools <strong>in</strong> Ch<strong>in</strong>a s<strong>in</strong>ce 1949 (2004); art as cultural studies<br />
(2003); and art education and globalization (2002). He has also<br />
published books and papers on the history of Ch<strong>in</strong>ese art.<br />
› Art education <strong>in</strong> Ch<strong>in</strong>ese primary and secondary schools: Meet<strong>in</strong>g the<br />
challenge of Visual Culture, International Journal of Education through Art,<br />
2.1, 17-26.<br />
Rob Huddleston, is Senior Lecturer and Director of Collaborations at<br />
the University of Southampton, W<strong>in</strong>chester School of Art. With an<br />
early background <strong>in</strong> f<strong>in</strong>e art, Rob is actively <strong>in</strong>volved <strong>in</strong><br />
<strong>in</strong>terdiscipl<strong>in</strong>ary design <strong>research</strong> and teach<strong>in</strong>g. He is currently work<strong>in</strong>g<br />
with textile designer Cheryl Welsh and University of Southampton<br />
<strong>research</strong>ers <strong>in</strong> optoelectronics on the next stage of a project with the<br />
textile producer Jakob Schlaepfer, Switzerland. He is <strong>in</strong>terested <strong>in</strong><br />
<strong>in</strong>novations <strong>in</strong> design and manufactur<strong>in</strong>g utiliz<strong>in</strong>g historical references<br />
such as Japanese pr<strong>in</strong>tmak<strong>in</strong>g and comb<strong>in</strong>ations of draw<strong>in</strong>g, new<br />
materials and laser technologies. In 2002 Rob conducted AHRC funded<br />
<strong>research</strong> at Tama Art University, Japan with the aim of explor<strong>in</strong>g<br />
possible connections between the materiality of traditionalJapanese<br />
pr<strong>in</strong>ts and digital textile pr<strong>in</strong>t<strong>in</strong>g. It was this experience that led him to<br />
start work<strong>in</strong>gwith Cheryl Welsh, and later Jakob Schlaepfer, on laserrelated<br />
design ideas.<br />
› Jakob Schlaepfer: A case study <strong>in</strong> laser <strong>in</strong>novation and the unexpected, Craft<br />
Research, 1.1, 125-132.<br />
L<strong>in</strong>dsay Hughes is currently Senior Visual <strong>Arts</strong> Officer for the <strong>Arts</strong><br />
Council Wales and is based <strong>in</strong> Bristol. She is also a freelance curator<br />
and writer. She is complet<strong>in</strong>g a Ph. D., <strong>research</strong><strong>in</strong>g the relationship<br />
between the viewer and site-based artwork, <strong>in</strong> particular focus<strong>in</strong>g on<br />
the notion of ‘wonder’.<br />
› Do we need new spaces for exhibit<strong>in</strong>g contemporary art? A critique of<br />
curatorial practice <strong>in</strong> relation to the viewer's engagement with contemporary
Jung A. Huh<br />
Yonsei University #626, Institute of<br />
Media <strong>Arts</strong>, 134 Sh<strong>in</strong>chon-dong,<br />
Seodaemun-gu, Seoul 120–749,<br />
Korea Sout<br />
Keywords mapp<strong>in</strong>g, space, structure,<br />
pattern, communication<br />
Andrew Hunt<br />
Focal Po<strong>in</strong>t Gallery, Southend Central<br />
Library, Victoria Avenue, Southendon-Sea,<br />
SS2 6EX, United K<strong>in</strong>gdom<br />
Keywords curat<strong>in</strong>g, art practice<br />
D. J. Huppatz<br />
Sw<strong>in</strong>burne University, Faculty of<br />
Design, 144 High Street, Prahran,<br />
Melbourne, Vic, 3181, Australia<br />
Keywords <strong>in</strong>terior design, Lascaux,<br />
historiography, narrative, design<br />
history<br />
art, Journal of Visual Art Practice, 4.1, 29-38.<br />
Jung A. Huh is a professor at the Institute of Media <strong>Arts</strong> at Yonsei<br />
University <strong>in</strong> Seoul, South Korea. She is also the supervis<strong>in</strong>g manager<br />
for the Humanities Korea Project 'Imag<strong>in</strong>ation and Technology' and<br />
organized the International Media Art Exhibition (2004) as executive<br />
producer. She is a consultant for the 'Asian Culture Hub City Project' <strong>in</strong><br />
the M<strong>in</strong>istry of Culture, Sports, and Tourism as well as for the<br />
'Transdiscipl<strong>in</strong>ary Robot Forum' <strong>in</strong> the M<strong>in</strong>istry of Knowledge<br />
Economy.<br />
› Mandala as telematic design, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.1, 19-30.<br />
Andrew Hunt is director of Focal Po<strong>in</strong>t Gallery, Southend-on-Sea. He<br />
was previously curator of International Project Space, Birm<strong>in</strong>gham,<br />
UK and assistant curator at Norwich Gallery, UK. He regularly<br />
organizes <strong>in</strong>dependent projects. Freelance exhibitions <strong>in</strong>clude The<br />
Affirmation, Chelsea Space, (2007), Writ<strong>in</strong>g <strong>in</strong> Strobe, Dicksmith<br />
Gallery (2006) and Like Beads on an Abacus Designed to Calculate<br />
Inf<strong>in</strong>ity, Rockwell (2004). Publish<strong>in</strong>g activities <strong>in</strong>clude the<br />
impr<strong>in</strong>t Slimvolume, produced on a yearly basis s<strong>in</strong>ce 2001. He is also<br />
reviews editor at Untitled, a regular contributor to Frieze, Art<br />
Monthly and a number of other journals.<br />
› M<strong>in</strong>or Curat<strong>in</strong>g?, Journal of Visual Art Practice, 9.2, 153-161.<br />
D. J. Huppatz is a Lecturer <strong>in</strong> the Faculty of Design at Sw<strong>in</strong>burne<br />
University of Technology, Melbourne, Australia. His recent<br />
publications <strong>in</strong>clude ‘Jean Prouvé’s Maison Tropicale: The Poetics of<br />
the Colonial Object’, Design Issues (26:4, Autumn 2010); ‘Globaliz<strong>in</strong>g<br />
Corporate Identity <strong>in</strong> Hong Kong’, <strong>in</strong> Clark, H. and D. Brody, eds.,<br />
Design Studies: A Reader (Oxford and New York: Berg, 2009), and<br />
‘Fashion Brand<strong>in</strong>g: Stag<strong>in</strong>g Identities’, <strong>in</strong> Riello, G. and P. McNeil,<br />
eds., The Fashion History Reader (London and New York, Routledge,<br />
2010). He writes a regular blog, Critical Cities, focused on design,
Laura Hurd Clarke<br />
University of British Columbia,<br />
School of Human K<strong>in</strong>etics,<br />
Vancouver, Canada<br />
Keywords fem<strong>in</strong><strong>in</strong>ity, fashion,<br />
beauty, work, immigration, ag<strong>in</strong>g<br />
Zuzana Husárová<br />
Comenius University, Department of<br />
English Language and Literature,<br />
Faculty of Education, Šoltésovej 4,<br />
Bratislava, 811 08, Slovakia<br />
Keywords literary science, digital<br />
fiction,<br />
Ren-Lai Hwang<br />
Wenzao Ursul<strong>in</strong>e College of<br />
Languages, Department of<br />
Communication <strong>Arts</strong>, 900 M<strong>in</strong>tsu 1st<br />
Road, Kaohsiung, 80793, Taiwan<br />
Keywords Buddhism, education,<br />
religion, <strong>who</strong>le-person<br />
architecture and contemporary culture: http://djhuppatz.blogspot.com.<br />
› The cave: Writ<strong>in</strong>g design history, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
3.2, 135-148.<br />
Laura Hurd Clarke, MSW, Ph.D., is Associate Professor (Sociology of<br />
Health and Ag<strong>in</strong>g) <strong>in</strong> the School of Human K<strong>in</strong>etics, The University of<br />
British Columbia, Vancouver, Canada. The overall objective of her<br />
<strong>research</strong> is to critically exam<strong>in</strong>e how social norms concern<strong>in</strong>g gender,<br />
health, and later life mediate <strong>in</strong>dividuals’ experiences of ag<strong>in</strong>g, the<br />
body, health, and illness.<br />
› Russian immigrant women and the negotiation of social class and fem<strong>in</strong><strong>in</strong>e<br />
identity through fashion, Critical Studies <strong>in</strong> Fashion & Beauty, 1.2, 181-202.<br />
Zuzana Husárová is a Slovak academic, writer and scholar specializ<strong>in</strong>g<br />
<strong>in</strong> various aspects of electronic literature. She holds a Ph.D. <strong>in</strong> Literary<br />
Science from the Institute of World Literature at the Slovak Academy<br />
of Sciences <strong>in</strong> Bratislava, where she defended her thesis Writ<strong>in</strong>g <strong>in</strong><br />
Interactive Media. Digital Fiction <strong>in</strong> 2009. She obta<strong>in</strong>ed her Mgr. (MA)<br />
from English Language and Literature at University of SS. Cyril and<br />
Methodius <strong>in</strong> Trnava, Slovakia. She is teach<strong>in</strong>g at Comenius University<br />
<strong>in</strong> Bratislava, Slovakia and at Masarykova University <strong>in</strong> Brno, Czech<br />
Republic and is a member of Slovak REMAKE team.<br />
› Follow<strong>in</strong>g Paths of Electronic Literature, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 4.1, 25-36.<br />
Ren-Lai Hwang was appo<strong>in</strong>ted Professor of Art Education, Department<br />
of Communication <strong>Arts</strong>, Wenzao Ursul<strong>in</strong>e College of Languages,<br />
Taiwan <strong>in</strong> 2005. Prior to that he was Professor of Art Education <strong>in</strong> the<br />
Department of Visual <strong>Arts</strong> Education, National P<strong>in</strong>gtung Teachers<br />
College, Taiwan. He was Visit<strong>in</strong>g Professor, University of South<br />
Australia, Australia <strong>in</strong> 1996. He obta<strong>in</strong>ed his Ed.D. <strong>in</strong> Art Education<br />
from the University of Georgia, United States. He has published at<br />
least 50 books/reports/articles on art education and held four solo<br />
exhibitions of watercolor and oil pa<strong>in</strong>t<strong>in</strong>gs <strong>in</strong> Taiwan.
Yasm<strong>in</strong> Ibrahim<br />
Queen Mary, University of London,<br />
School of Bus<strong>in</strong>ess and Management,<br />
Mile End, London, E1 4NS, United<br />
K<strong>in</strong>gdom<br />
Keywords visual communications,<br />
politics, <strong>in</strong>tercultural communication,<br />
new media, digital economies,<br />
political communication<br />
Takashi Ikegami<br />
University of Tokyo, School of <strong>Arts</strong><br />
and Sciences, Komaba 3-8-1, Tokyo,<br />
153-8902, Japan<br />
Keywords chemical comput<strong>in</strong>g,<br />
smart chemical agents, chemotaxis,<br />
liv<strong>in</strong>g technology, artificial life, first<br />
cell<br />
Yassaman Imani<br />
University of Hertfordshire, Bus<strong>in</strong>ess<br />
School, College Lane, Hatfield,<br />
Hertfordshire, AL10 9AB, United<br />
K<strong>in</strong>gdom<br />
Keywords arts, design, knowledge<br />
creation, knowledge management,<br />
tacit knowledge<br />
› Integrat<strong>in</strong>g Buddhist doctr<strong>in</strong>e <strong>in</strong>to arts education, International Journal of<br />
Education through Art, 2.2, 93-104.<br />
Dr. Yasm<strong>in</strong> Ibrahim is Reader <strong>in</strong> International Bus<strong>in</strong>ess and<br />
Communications at Queen Mary, University of London. Her ongo<strong>in</strong>g<br />
<strong>research</strong> on new media technologies explores the cultural dimensions<br />
and social implication of the diffusion of ICTs <strong>in</strong> different contexts.<br />
Beyond new media and digital technologies she writes on political<br />
communication and political mobilisation from cultural perspectives.<br />
Her other <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude globalization, visual culture and<br />
memory studies.<br />
› The non-stop ‘capture’: the politicsof look<strong>in</strong>g <strong>in</strong> postmodernity, The Poster,<br />
1.2, 167-185.<br />
Takashi Ikegami is a professor <strong>in</strong> the Graduate School of <strong>Arts</strong> and<br />
Sciences at the University of Tokyo where he specializes <strong>in</strong> complex<br />
systems and artificial life. Takashi takes a computational/philosophical<br />
approach to design<strong>in</strong>g artificial life, explor<strong>in</strong>g issues at the marg<strong>in</strong>s of<br />
his discipl<strong>in</strong>e. He is also an arts collaborator with Keichiro Shibuya<br />
(ATAK) on mak<strong>in</strong>g three-dimensional sound <strong>in</strong>stallations.<br />
› Protocells as smart agents for architectural design, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 7.2, 117-120.<br />
› The search for a first cell under the maximalism design pr<strong>in</strong>ciple, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 7.2, 153-164.<br />
Yassaman Imani holds a Ph.D. from the Univeristy of London and is<br />
Head of Strategy and Management Research Unit at Univeristy of<br />
Hertfordshire Bus<strong>in</strong>ess School. She lectures on strategy and knowledge<br />
management and has published on organizational culture, art and<br />
knowledge management. Her current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
managerial perceptions of learn<strong>in</strong>g and knowledge shar<strong>in</strong>g <strong>in</strong><br />
organizations, knowledge perspective on strategy, the tacit dimension<br />
of knowledge, secondary qualitative reviews and the theroy-practice<br />
divide <strong>in</strong> strategic management. Her consultancy <strong>in</strong>terests <strong>in</strong>clude<br />
strategic knowledge management, organizational change and
Sharon Irish<br />
University of Ill<strong>in</strong>ois, School of<br />
Architecture, 611 Taft Drive, 117<br />
Buell Hall, M-C 621, Champaign,<br />
Ill<strong>in</strong>ois, 61820, United States of<br />
America<br />
Keywords Puerto Rico,<br />
consumerism, oppression, commercial<br />
space, neo- or post-colonialism,<br />
Rita L. Irw<strong>in</strong><br />
The University of British Columbia,<br />
Scarfe Teacher Education Office,<br />
2125 Ma<strong>in</strong>, Mall Canada, V6T 1Z4,<br />
Canada<br />
Keywords identity, community,<br />
transnational cities, <strong>research</strong>/creation<br />
methodology, public space<br />
Makoto Ishikawa<br />
Kyoto University of education, Art<br />
education, graduate School of<br />
education, Kyoto University of<br />
Education, 611 Fukakusa Fuj<strong>in</strong>omori,<br />
develop<strong>in</strong>g knowledge-based strategies <strong>in</strong> organizations.<br />
› Knowledge creation, bus<strong>in</strong>ess and art: explor<strong>in</strong>g the contradictions and<br />
commonalities, Journal of Visual Art Practice, 6.2, 141-154.<br />
Sharon Irish is Interim Director of the Community Informatics<br />
Initiative and a Lecturer <strong>in</strong> the School of Architecture at the University<br />
of Ill<strong>in</strong>ois, Urbana-Champaign, United States. She is the author of the<br />
art monograph, Suzanne Lacy: Spaces Between (University of<br />
M<strong>in</strong>nesota Press, 2010), as well as publications on artists Nek Chand<br />
Sa<strong>in</strong>i, Anish Kapoor, Stephen Willats and the architect Cass Gilbert.<br />
Her current <strong>research</strong> <strong>in</strong>volves two ma<strong>in</strong> directions: critical spatial<br />
practices <strong>in</strong> the United States, and second order cybernetics <strong>in</strong> 1970s<br />
art <strong>in</strong> England and the United States.<br />
› Along Paseo Boricua: The Art of Josué Pellot Gonzalez, Journal of <strong>Arts</strong> &<br />
Communities, 1.2, 115-127.<br />
Rita Irw<strong>in</strong> is Professor of Art Education and Curriculum Studies, and<br />
Associate Dean of Teacher Education <strong>in</strong> the Faculty of Education at<br />
The University of British Columbia. Although she may be best known<br />
for her work <strong>in</strong> develop<strong>in</strong>g a form of arts-based educational <strong>research</strong><br />
called a/r/tography, she is also well known for her leadership roles <strong>in</strong><br />
professional organizations. Most notably, she is the current president of<br />
the International Society for Education through Art.<br />
› Research and creation: Socially-engaged art <strong>in</strong> The City of Richgate Project,<br />
International Journal of Education through Art, 6.2, 213-227.<br />
› Render<strong>in</strong>g Embodied Heteroglossic Spaces, Journal of <strong>Arts</strong> & Communities,<br />
1.2, 129-146.<br />
Author is Professor of Art Education at the Graduate School of<br />
Education, Kyoto University of Education, Japan. He <strong>research</strong>es art<br />
appreciation for lifelong learn<strong>in</strong>g. His <strong>research</strong> focuses on advanc<strong>in</strong>g<br />
the collaboration between schools and museums. In 2008, he conducted<br />
the trial exhibition, Between Kaku (Writ<strong>in</strong>g) & Kaku (Draw<strong>in</strong>g):<br />
Children and the MOMAK Collection, at the National Museum of
Fushimiku, Kyoto 612-8522, Japan<br />
Keywords gallery education, art<br />
appreciation, collaboration between<br />
school and museum, museum<br />
collection, cross-cultural<br />
Kazuhiro Ishizaki<br />
University of Tsukuba, Art and<br />
Design, Graduate School of<br />
Comprehensive Human Sciences, 1-1-<br />
1 Tennodai, Tsukuba-shi, 305-8577,<br />
Japan<br />
Keywords understand<strong>in</strong>g art,<br />
repertoires, developmental theory, art<br />
appreciation, appreciation skills<br />
Marlene Ivey<br />
NSCAD University, Design<br />
Department, 5163 Duke Street,<br />
Halifax, B3J 3J6, Canada<br />
Keywords designer’s th<strong>in</strong>k<strong>in</strong>g,<br />
m<strong>in</strong>dfulness, rhetoric, visual th<strong>in</strong>k<strong>in</strong>g,<br />
dialogue<br />
Luke Jaaniste<br />
Queensland University of<br />
Technology, Creative Industries<br />
Faculty, Kelv<strong>in</strong> Grove, Queensland,<br />
Modern Art, Kyoto <strong>in</strong> collaboration with the museum, his sem<strong>in</strong>ar<br />
students and schoolteachers. His ongo<strong>in</strong>g project is to create<br />
opportunities for children to appreciate contemporary art and<br />
calligraphy.<br />
› Through the eyes of a stray dog: encounters with the Other, International<br />
Journal of Education through Art, 5.2&3, 111-128.<br />
› Young people's encounters with museum collections: Expand<strong>in</strong>g the range of<br />
contexts for art appreciation, International Journal of Education through Art,<br />
8.1, 73-89.<br />
Dr. Kazuhiro Ishizaki is Associate Professor of Art Education <strong>in</strong><br />
Graduate School of Comprehensive Human Sciences at the University<br />
of Tsukuba, Japan. He is past Coord<strong>in</strong>ator of the Invited Sem<strong>in</strong>ar of the<br />
32nd InSEA World Congress <strong>in</strong> Osaka, Japan. His <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude learn<strong>in</strong>g sciences <strong>in</strong> visual arts and curriculum development <strong>in</strong><br />
art appreciation.<br />
› Consider<strong>in</strong>g the framework of art appreciation repertoires, International<br />
Journal of Education through Art, 6.3, 327-341.<br />
Marlene Ivey jo<strong>in</strong>ed the University of Dundee <strong>in</strong> 1994, after work<strong>in</strong>g <strong>in</strong><br />
the public health sector develop<strong>in</strong>g and implement<strong>in</strong>g new systems and<br />
services for General Practice Fundhold<strong>in</strong>g. Founder of<br />
creativekit.co.uk, she is a <strong>research</strong>er <strong>in</strong> the School of Design and was<br />
Course Director for the Master of Design, a multidiscipl<strong>in</strong>ary and<br />
multicultural taught postgraduate course between 2001–2007.<br />
› Susta<strong>in</strong><strong>in</strong>g Ambiguity and Foster<strong>in</strong>g Openness <strong>in</strong> the (Design) Learn<strong>in</strong>g<br />
Environment, Art, Design & Communication <strong>in</strong> Higher Education, 7.3, 155-<br />
167.<br />
Dr. Luke Jaaniste is a Research Fellow at the ARC Centre of<br />
Excellence for Creative Industries and Innovation, QUT, and is a<br />
practic<strong>in</strong>g visual and sound artist. After complet<strong>in</strong>g a practice-led<br />
Ph.D. <strong>in</strong> 2006, he has <strong>research</strong>ed creative practice and its l<strong>in</strong>ks to<br />
various <strong>in</strong>stitutional contexts <strong>in</strong>clud<strong>in</strong>g higher <strong>research</strong>, cultural and
4059, Australia<br />
Keywords media, design, art,<br />
exegesis, practice-led <strong>research</strong><br />
Michael I. Jackson<br />
Keywords charity, m<strong>in</strong>istry, art<br />
education<br />
Georg<strong>in</strong>a Jackson<br />
The National College of Art and<br />
Design, Graduate School of Creative<br />
<strong>Arts</strong> and Media<br />
Keywords curat<strong>in</strong>g, art practice<br />
Mogens Jacobsen<br />
Keywords mapp<strong>in</strong>g, collaborative<br />
creative processes, trans-discipl<strong>in</strong>ary<br />
doma<strong>in</strong>s, renegotiat<strong>in</strong>g competences<br />
<strong>in</strong>novation policy, and formal pedagogy. He has been <strong>in</strong>volved <strong>in</strong><br />
teach<strong>in</strong>g postgraduate <strong>research</strong> methods units at QUT, and has<br />
supervised practice-led <strong>research</strong> higher degrees <strong>in</strong> the fields of fashion,<br />
documentary film and drama education.<br />
› A connective model for the practice-led <strong>research</strong> exegesis: An analysis of<br />
content and structure, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.1, 31-44.<br />
Reverend Michael Jackson qualified as a solicitor but then left legal<br />
practice to become director of a charity. He concurrently studied for the<br />
m<strong>in</strong>istry and was orda<strong>in</strong>ed priest. He is a member of the CCOA<br />
Research Group.<br />
› Engagement <strong>in</strong> the arts and well-be<strong>in</strong>g and health <strong>in</strong> later adulthood: An<br />
empirical study, Journal of Applied <strong>Arts</strong> & Health, 2.1, 25-36.<br />
Georg<strong>in</strong>a Jackson is a curator and a <strong>research</strong> scholar at the Graduate<br />
School of Creative <strong>Arts</strong> and Media, Dubl<strong>in</strong>. She is currently<br />
participat<strong>in</strong>g <strong>in</strong> a two-year curatorial residency at the Mattress Factory<br />
Art Museum, Pittsburgh.<br />
› REVIEWS, Art & the Public Sphere, 1.1, 85-.<br />
Mogens Jacobsen is an <strong>in</strong>dependent media artist, HCI professional and<br />
commentator. Jacobsen was a found<strong>in</strong>g member of the Danish net-art<br />
group Artnode.org. S<strong>in</strong>ce 2001 his focus has been on physical telematic<br />
objects and social spaces. He exhibits frequently <strong>in</strong> museums and<br />
media festivals worldwide. He has contributed to several publications,<br />
<strong>in</strong>clud<strong>in</strong>g Get Real – Art + Real time (New York: George Braziller<br />
Publishers, 2005). He co-edited (with Morten Søndergaard) the book<br />
RE_ACTION – The Digital Archive Experience (Aalborg University<br />
Press, 2009).<br />
› MAPPING the doma<strong>in</strong>s of media art practice: A trans-discipl<strong>in</strong>ary enquiry<br />
<strong>in</strong>to collaborative creative processes, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 8.1, 77-84.
Margarete Jahrmann<br />
University of <strong>Arts</strong> Zurich,<br />
Department of Design,<br />
Ausstellungsstrasse 60, 8005 Zurich,<br />
Switzerland<br />
Keywords arts <strong>research</strong>, science<br />
critic, game culture, ludic <strong>in</strong>terfaces,<br />
player consciousness, Internet of<br />
th<strong>in</strong>gs<br />
Alison James<br />
London College of Fashion -<br />
University of the <strong>Arts</strong> London, 20<br />
John Pr<strong>in</strong>ces St, London, W1G 0BJ,<br />
United K<strong>in</strong>gdom<br />
Keywords emotions, progress files,<br />
key skills, writ<strong>in</strong>g, narrative<br />
Margarete Jahrmann is an artist, doctor of Philosophy, and Professor<br />
for Game Design at the University of <strong>Arts</strong> Zurich. In Vienna at the<br />
University of <strong>Arts</strong> die Angewandte Vienna she is lecturer <strong>in</strong> media arts<br />
and <strong>in</strong>dividual project leader of the European Union funded<br />
Humanities Research project on creative FLOW and 'Prosumer'<br />
cultures (subproject of TEF- Technology, Exchange and Flow) with the<br />
aim of an <strong>in</strong>ternational exhibition <strong>in</strong> 2012 <strong>in</strong> Vienna on Pervasive<br />
Prosumer Plays. As an <strong>in</strong>ternationally renowned artist she exhibited<br />
and presented her work worldwide, as for example <strong>in</strong> 2010 at Wits<br />
Academy, Johannesburg, South Africa, FACT Centre Liverpool, Space<br />
Invaders, at Digital <strong>Arts</strong> weeks Xian, Ch<strong>in</strong>a; <strong>in</strong> the Netherlands Media<br />
<strong>Arts</strong> Institute NIMK, Amsterdam. A selection of further shows <strong>in</strong>clude<br />
2009 Tales of Play, Alta Tecnología And<strong>in</strong>a Lima and Enter_Act,<br />
Kunstmuseum Aaros, 2008 Arco/ Laboral Gijon, SESC/ File Sau<br />
Paolo, 2007 DIGRA Tokyo.<br />
› Morales du Joujou: Ludic wonder objects, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 6.2, 149-162.<br />
Alison James is currently Learn<strong>in</strong>g and Teach<strong>in</strong>g Coord<strong>in</strong>ator at the<br />
Surrey Institute of Art & Design, University College, where her<br />
responsibilities <strong>in</strong>clude support<strong>in</strong>g curriculum <strong>in</strong>novation, staff<br />
development <strong>in</strong> teach<strong>in</strong>g and learn<strong>in</strong>g, learn<strong>in</strong>g support and English<br />
language provision. She is <strong>in</strong>volved <strong>in</strong> several nationally funded<br />
projects on improv<strong>in</strong>g provision for disabled students, support<strong>in</strong>g parttime<br />
tutors <strong>in</strong> art and design and writ<strong>in</strong>g practices. She has previously<br />
coord<strong>in</strong>ated a four-year TLTP3 project. She is a member of the art and<br />
design reference group of the ADC LTSN. Her <strong>research</strong> <strong>in</strong>terests are<br />
auto/biography and narratives of learn<strong>in</strong>g.<br />
› Autobiography and narrative <strong>in</strong> personal development plann<strong>in</strong>g <strong>in</strong> the<br />
creative arts, Art, Design & Communication <strong>in</strong> Higher Education, 3.2, 103-<br />
118.<br />
› Reflection revisited: perceptions of reflective practice <strong>in</strong> fashion learn<strong>in</strong>g and<br />
teach<strong>in</strong>g, Art, Design & Communication <strong>in</strong> Higher Education, 5.3, 179-196.<br />
› Reflections on emotional journeys: a new perspective for read<strong>in</strong>g fashion<br />
students' PPD statements, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 6.3, 209-219.<br />
David E. James Professor David E. James is on the faculty of the School of C<strong>in</strong>ematic
University of Southern California<br />
Keywords<br />
Harry Jamieson<br />
Keywords complexity, relationships,<br />
skill, sensitivity, perception<br />
Julia Jansen<br />
University College Cork, Department<br />
of Philosophy, 4 Elderwood, College<br />
Road, Cork, United K<strong>in</strong>gdom<br />
Keywords philosophy, fem<strong>in</strong>ist<br />
theory, women's studies, aesthetics,<br />
phenomenology<br />
<strong>Arts</strong> at the University of Southern California. His teach<strong>in</strong>g focuses on<br />
avant-garde c<strong>in</strong>ema, culture <strong>in</strong> Los Angeles, East Asian c<strong>in</strong>ema,<br />
c<strong>in</strong>ema and music, and work<strong>in</strong>gclass culture. He has published widely<br />
<strong>in</strong> these fields, <strong>in</strong>clud<strong>in</strong>g Allegories of C<strong>in</strong>ema: American Film <strong>in</strong> the<br />
Sixties (1989), Power Misses: Essays Across (Un)Popular Culture<br />
(1996) and The Most Typical Avant-Garde: History and Geography of<br />
M<strong>in</strong>or C<strong>in</strong>emas <strong>in</strong> Los Angeles (2005). Together with Michele Pierson<br />
and Paul Arthur, he edited Optic Antics: The C<strong>in</strong>ema of Ken Jacobs<br />
(New York: Oxford University Press, 2011).<br />
› Letter to Paul Arthur (Letter with Footnotes), Mov<strong>in</strong>g Image Review & Art<br />
Journal MIRAJ, 1.1, 27-35.<br />
Harry Jamieson has been concerned with aspects of the visual s<strong>in</strong>ce his<br />
early career <strong>in</strong> advertis<strong>in</strong>g and subseqently <strong>in</strong> art education. After a<br />
period as a <strong>research</strong> scientist <strong>in</strong> the M.R.C., where his <strong>in</strong>terest lay <strong>in</strong><br />
perceptual skills, he was appo<strong>in</strong>ted to the staff of the University of<br />
Liverpool where he helped to found the Department of Communication<br />
Studies. He is the author of a number of articles, and a book titled<br />
Communication and Persuasion. He is currently engaged <strong>in</strong> work on<br />
the salience of form <strong>in</strong> aesthetics.<br />
› Form<strong>in</strong>g art: mak<strong>in</strong>g and respond<strong>in</strong>g, Journal of Visual Art Practice, 7.1, 75-<br />
84.<br />
Julia Jansen has a Ph.D. <strong>in</strong> Philosophy and has worked as a lecturer <strong>in</strong><br />
the Department of Philosophy at University College Cork s<strong>in</strong>ce 2002.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude aesthetics, Kantian philosophy,<br />
phenomenology and fem<strong>in</strong>ist philosophy. She has taught fem<strong>in</strong>ist<br />
theories of knowledge, science and body on the MA <strong>in</strong> Women’s<br />
Studies.<br />
› Editorial Introduction Aesthetics and its objects – challenges from art and<br />
experience, Journal of Visual Art Practice, 5.3, 123-126.<br />
Milan Jaros Milan Jaros is Professor of Theoretical Physics and Director of the<br />
Centre for Research <strong>in</strong> Knowledge Science and Society at the
Newcastle University, KNOSSOS,<br />
Newcastle Upon Tyne, Tyne and<br />
Wear, NE1 7RU, United K<strong>in</strong>gdom<br />
Keywords materia poetica, ontopoetics,<br />
narratability, post-mechanical<br />
age, pata-physics<br />
Michael Jarvis<br />
Northumbria University, School of<br />
Health, Social work and Education,<br />
Coach Lane Campus, Coach Lane,<br />
Benton, Newcastle-Upon-Tyne, NE7<br />
7XA, United K<strong>in</strong>gdom<br />
Keywords expertise, implicit,<br />
<strong>in</strong>tuition, process, procedure<br />
Marta Jecu<br />
Keywords<br />
Marie Jefsiout<strong>in</strong>e<br />
Birm<strong>in</strong>gham City University,<br />
Birm<strong>in</strong>gham Institute of Art and<br />
Design, Corporation Street, Gosta<br />
Green, Birm<strong>in</strong>gham, West Midlands,<br />
B4 7DX, United K<strong>in</strong>gdom<br />
Keywords negotiation, work-based<br />
University of Newcastle-upon-Tyne, United K<strong>in</strong>gdom. He has<br />
published over 300 scientific articles and several books. His recent<br />
work has been concerned with theories of man-made systems and ontoepistemic<br />
and educational issues concern<strong>in</strong>g the <strong>in</strong>terface between the<br />
generation and transmission of knowledge.<br />
› Materia poetica: models of corporeality and onto-poetic pata-physics of the<br />
post-mechanical age, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
3.1, 3-12.<br />
Michael Jarvis is an artist, writer and lecturer. He works at<br />
Northumbria University <strong>in</strong> Newcastle-Upon-Tyne where he contributes<br />
to undergraduate and postgraduate programmes <strong>in</strong> Teacher Education<br />
and F<strong>in</strong>e Art. He has recently completed a Ph.D. <strong>in</strong> F<strong>in</strong>e Art at<br />
Lancaster University. The <strong>research</strong> is concerned with the practice of<br />
pa<strong>in</strong>t<strong>in</strong>g <strong>in</strong> relation to various announcements of its ‘death’ and demise<br />
s<strong>in</strong>ce 1840.<br />
› Articulat<strong>in</strong>g the tacit dimension <strong>in</strong> artmak<strong>in</strong>g, Journal of Visual Art Practice,<br />
6.3, 201-214.<br />
› Francis Bacon and the practice of pa<strong>in</strong>t<strong>in</strong>g, Journal of Visual Art Practice,<br />
8.3, 181-193.<br />
› Exhibition Reviews, Journal of Curatorial Studies, 1.1, 101-116.<br />
Marie Jefsiout<strong>in</strong>e is Senior Research Fellow <strong>in</strong> Digital Media at the<br />
Birm<strong>in</strong>gham Institute of Art and Design. She is <strong>in</strong>volved <strong>in</strong> usercentred<br />
design and usability <strong>research</strong>. She has a background <strong>in</strong><br />
psychology, human-computer <strong>in</strong>teraction and educational media, and<br />
has worked <strong>in</strong> <strong>in</strong>teraction design for over ten years, previously at the<br />
BBC, the Open University and Goldsmiths College. She has designed a<br />
number of CD-ROMs and websites, <strong>in</strong>clud<strong>in</strong>g the Virtual Gallery of<br />
Contemporary Jewellery, now on display <strong>in</strong> the Victoria and Albert
learn<strong>in</strong>g, learn<strong>in</strong>g contracts, electronic<br />
learn<strong>in</strong>g contracts, art and design<br />
Bob Jerrard<br />
Birm<strong>in</strong>gham City University, Institute<br />
of Art & Design<br />
Keywords work-based learn<strong>in</strong>g,<br />
learn<strong>in</strong>g contracts, art and design<br />
participatory <strong>research</strong>, design<br />
Albert Jewell<br />
Keywords Methodism, art therapy,<br />
art education<br />
Museum, London. Marie is a member of the Design Research Society,<br />
the BCS HCI group and the Museums Computer Group, and publishes<br />
regularly <strong>in</strong> the fields of design and human computer <strong>in</strong>teraction.<br />
› Reflections on us<strong>in</strong>g onl<strong>in</strong>e contracts for work-based learn<strong>in</strong>g and teach<strong>in</strong>g <strong>in</strong><br />
art and design, Art, Design & Communication <strong>in</strong> Higher Education, 5.1, 55-<br />
70.<br />
Dr. Bob Jerrard is Emeritus Professor of Design Studies, a Fellow of<br />
the Design Research Society and was until recently Director of the<br />
Research Centre for Design and the Creative Industries at Birm<strong>in</strong>gham<br />
City University, Institute of Art and Design. He directed the major<br />
AHRC <strong>research</strong> project concern<strong>in</strong>g Risk, Risk Perception and Design;<br />
he has published widely on theoretical and social aspects of design and<br />
technology and has supervised nearly twenty doctoral studies <strong>in</strong> a<br />
variety of areas of design <strong>research</strong> and exam<strong>in</strong>ed more than 40 others.<br />
He has also directed major <strong>research</strong> <strong>in</strong>to Fashion Culture and<br />
Consumption, Work-based Learn<strong>in</strong>g <strong>in</strong> Art and Design and Knowledge<br />
Transfer between Higher Education and Small Design Firms. He is a<br />
member of AHRC’s Peer Review College and a <strong>research</strong> consultant for<br />
a number of <strong>in</strong>ternational publish<strong>in</strong>g groups, editorial boards and<br />
several UK and overseas universities.<br />
› Reflections on us<strong>in</strong>g onl<strong>in</strong>e contracts for work-based learn<strong>in</strong>g and teach<strong>in</strong>g <strong>in</strong><br />
art and design, Art, Design & Communication <strong>in</strong> Higher Education, 5.1, 55-<br />
70.<br />
› Research<strong>in</strong>g creative companies: lessons learned from a risk <strong>in</strong> design<br />
project, Creative Industries Journal, 2.2, 161-178.<br />
Reverend Dr. Albert Jewell is a Methodist m<strong>in</strong>ister, <strong>who</strong> recently<br />
completed a Ph.D. at the University of Wales on the topic of well-be<strong>in</strong>g<br />
<strong>in</strong> older Methodists. He is a member of the CCOA Research group.<br />
› Engagement <strong>in</strong> the arts and well-be<strong>in</strong>g and health <strong>in</strong> later adulthood: An<br />
empirical study, Journal of Applied <strong>Arts</strong> & Health, 2.1, 25-36.<br />
Mark Johnson Mark L. Johnson is Knight Professor of Liberal <strong>Arts</strong> and Sciences <strong>in</strong>
University of Oregon, Department of<br />
Philosophy, Eugene, OR, 97403-<br />
1295, United States of America<br />
Keywords pragmatism, embodiment,<br />
imag<strong>in</strong>ation, cognitive science,<br />
metaphor<br />
Ruth Jones<br />
Foundation Al Andalus, Rabat,<br />
Morocco, Tregyddulan, St Nicholas,<br />
Goodwick, Pembrokeshire, SA64<br />
0LX, United K<strong>in</strong>gdom<br />
Keywords becom<strong>in</strong>g-animal,<br />
embodiment, Luce Irigaray, Lucy<br />
Gunn<strong>in</strong>g, Deleuze/Guattariritual<br />
Stephen Jones<br />
Keywords consciousness, <strong>in</strong>teraction,<br />
feedback, self-organization, ethics<br />
the Department of Philosophy, University of Oregon. He has written<br />
extensively on metaphor, embodiment and imag<strong>in</strong>ation, and moral<br />
theory. His books <strong>in</strong>clude: Metaphors We Live By (co-author George<br />
Lakoff, University of Chicago, 1980); The Body <strong>in</strong> the M<strong>in</strong>d: The<br />
Bodily Basis of Mean<strong>in</strong>g, Imag<strong>in</strong>ation, and Reason, University<br />
Challenge to Western Thought, (co-author George Lakoff, Basic<br />
Books, 1999).<br />
› ‘The stone that was cast out shall become the cornerstone’: the bodily<br />
aesthetics of human mean<strong>in</strong>g, Journal of Visual Art Practice, 6.2, 89-104.<br />
Ruth Jones is an artist and curator based <strong>in</strong> West Wales. She has<br />
exhibited <strong>in</strong> the United K<strong>in</strong>gdom, Ireland, Poland, United States, Spa<strong>in</strong><br />
and Quebec. She completed a practice-led D. Phil at the University of<br />
Ulster <strong>in</strong> 2002. In 2006 she was awarded an AHRC Fellowship <strong>in</strong><br />
Creative and Perform<strong>in</strong>g <strong>Arts</strong> at the University of West England,<br />
Bristol, explor<strong>in</strong>g the relationships between ritual, place and<br />
community <strong>in</strong> lens-based and public art. Recent projects <strong>in</strong>clude<br />
sleepers (2006), a film and public art project; (2008), a video<br />
<strong>in</strong>stallation about Strumble Head lighthouse, and Cloddfa (2010) a<br />
video <strong>in</strong>stallation about Porthga<strong>in</strong> quarry. Jones was a co-director of<br />
the Belfast-based artist-run gallery Catalyst <strong>Arts</strong> between 1997–1999.<br />
› Becom<strong>in</strong>g-hysterical – becom<strong>in</strong>g-animal – becom<strong>in</strong>g-woman <strong>in</strong> The Horse<br />
Impressionists, Journal of Visual Art Practice, 3.2, 123-138.<br />
› Invent<strong>in</strong>g rituals; <strong>in</strong>habit<strong>in</strong>g places – ritual and community <strong>in</strong> public art,<br />
Journal of <strong>Arts</strong> & Communities, 1.2, 147-167.<br />
Stephen Jones is an Australian video artist of long stand<strong>in</strong>g. Dur<strong>in</strong>g the<br />
1980s and early 1990s he was the video-maker for the electronic music<br />
band Severed Heads. He has been <strong>in</strong>volved with the philosophical<br />
aspects of the nature of consciousness for almost longer than his<br />
<strong>in</strong>volvement <strong>in</strong> video and has produced The Bra<strong>in</strong> Project web site<br />
s<strong>in</strong>ce August 1996 http://www.culture.com.au/bra<strong>in</strong>_proj/ and also<br />
works <strong>in</strong> the theory of Artificial Life and self-organiz<strong>in</strong>g systems. As<br />
an artist he now builds physical immersion <strong>in</strong>stallations based on the<br />
<strong>in</strong>cunabula of comput<strong>in</strong>g. As an electronic eng<strong>in</strong>eer and he works on<br />
equipment rang<strong>in</strong>g from analogue video synthesizers to digital<br />
television facilities as well as develop<strong>in</strong>g <strong>in</strong>teractive sensor systems for<br />
artists’ <strong>in</strong>stallation projects <strong>in</strong> Australia and elsewhere. He is currently<br />
<strong>research</strong><strong>in</strong>g the history of the computer arts <strong>in</strong> Australia.
Zachary Jones<br />
Arizona State University, Herberger<br />
Institute for Design and the <strong>Arts</strong>, PO<br />
Box 871505, Tempe, AZ, 85287-<br />
1505, United States of America<br />
Keywords biophotonics, genomics,<br />
modell<strong>in</strong>g, simulation, systems<br />
theory, electrochemistry, liv<strong>in</strong>g<br />
architecture, HCI, mythological<br />
synesthesia, ICRL, vortex mechanics,<br />
water, light, mathematics,<br />
relationships, perception<br />
Hannah Jones<br />
Goldsmiths University of London,<br />
Department of Design, New Cross,<br />
London, SE14 6NW, United<br />
K<strong>in</strong>gdom<br />
Keywords bisociation, awkwardness,<br />
metadesign, tetrahedral relations,<br />
relevance<br />
Mel Jordan<br />
Loughborough University, School of<br />
Art and Design, Ep<strong>in</strong>al Way,<br />
› Resolv<strong>in</strong>g classical experience and the quantum world, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 1.2, 143-.<br />
› On the evolution of artificial consciousness. Re-<strong>in</strong>vent<strong>in</strong>g the wheel, Re:<br />
Invent<strong>in</strong>g the wheel, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
2.1, 45-.<br />
Zachary Jones is an artist and <strong>research</strong>er <strong>who</strong>se work focuses on<br />
render<strong>in</strong>g the poetics of subtle patterns and phenomena that span fields<br />
of <strong>in</strong>quiry. He is responsible for the creation of the 1/4 mile long<br />
Dixmont Time Capsule (Pittsburgh), enactment of a Tzolk<strong>in</strong> lecture<br />
series, organization of a Metaphysical Cafe (series) from 2000 to 2002,<br />
and consultation with Frick Environmental Center for the creation of an<br />
education and outreach system for ecological <strong>research</strong>, as well as other<br />
commissioned and <strong>in</strong>vited site works. Jones received his BFA <strong>in</strong> F<strong>in</strong>e<br />
<strong>Arts</strong> from Carnegie Mellon University <strong>in</strong> 2000, with an undelivered<br />
double-major <strong>in</strong> Human-Computer Interaction (HCI – Interface<br />
Design). He has received fund<strong>in</strong>g for the <strong>in</strong>dependent <strong>research</strong> he<br />
performs s<strong>in</strong>ce 2000. Jones is a graduate <strong>research</strong>er <strong>in</strong> the <strong>Arts</strong>, Media<br />
and Eng<strong>in</strong>eer<strong>in</strong>g Programme at Arizona State University.<br />
› Biophotonics <strong>in</strong> the render<strong>in</strong>g of a general systems language, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 5.1, 25-34.<br />
Hannah Jones is an Associate Tutor on the MA Design Futures<br />
programme <strong>in</strong> the Department of Design at Goldsmiths, University of<br />
London. Hannah is also a <strong>research</strong>er on the <strong>Arts</strong> and Humanities<br />
Research Council funded 2006/8 project 'Benchmark<strong>in</strong>g Synergy<br />
Levels With<strong>in</strong> Metadesign: Devis<strong>in</strong>g International Standards That<br />
Encourage A More Jo<strong>in</strong>ed-Up Approach to the Way We Live'.<br />
› Bisociation with<strong>in</strong> keyword-mapp<strong>in</strong>g:an aid to writ<strong>in</strong>g purposefully <strong>in</strong><br />
design, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 19-32.<br />
Mel Jordan is an artist <strong>who</strong>se practise is def<strong>in</strong>ed by its political and<br />
social engagement through specific sites; Mel teaches F<strong>in</strong>e Art at<br />
Loughborough University.
Loughborough, Leicestershire, LE11<br />
3TU, United K<strong>in</strong>gdom<br />
Keywords art, politics, art and social<br />
engagement, f<strong>in</strong>e art<br />
Jaspar Joseph-Lester<br />
Keywords urban modernization,<br />
video, urban plann<strong>in</strong>g, society, urban<br />
regeneration<br />
Sophie Jung<br />
Rietveld Academie, Photography,<br />
Kandererstrasse 34, Basel, 4057,<br />
Switzerland<br />
Keywords photography, media art,<br />
video<br />
Eduardo Kac<br />
The School of the Art Institute of<br />
Chicago, Chair Art and Technology<br />
Department, 112 S. Michigan<br />
Avenue, Chicago, IL 60603, United<br />
States of America<br />
Keywords bio-poetry, experimental<br />
poetry, bio-art, visual poetry<br />
› EDITORIAL, Art & the Public Sphere, 1.1, 3-6.<br />
› Non-relational regimes of urban modernization, Journal of Visual Art<br />
Practice, 9.2, 163-175.<br />
› Round table discussion: The affects of the abstract image <strong>in</strong> film and video<br />
art, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 79-87.<br />
› The Beach as a Space of Defamiliarisation, Journal of Visual Art Practice,<br />
9.3, 245-257.<br />
Eduardo Kac, Professor of Art and Technology Studies at the School of<br />
the Art Institute of Chicago, is an artist and writer <strong>who</strong> <strong>in</strong>vented<br />
holographic and digital poetry. His poetic works and theoretical essays<br />
have been exhibited and published <strong>in</strong>ternationally. He created his first<br />
poem onl<strong>in</strong>e <strong>in</strong> 1985 (with the French m<strong>in</strong>itel network), and s<strong>in</strong>ce the<br />
early 1980s has built a body of work <strong>in</strong> media poetry. Well known for<br />
his bio art, <strong>in</strong>clud<strong>in</strong>g 'GFP Bunny' (the green-glow<strong>in</strong>g rabbit Alba,<br />
2000), Kac has also created biopoems (poems written with or with<strong>in</strong><br />
liv<strong>in</strong>g be<strong>in</strong>gs).<br />
› Biopoetry, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 3.1, 13-18.
Them<strong>in</strong>a Kader<br />
University of Wiscons<strong>in</strong> Oshkosh,<br />
800 Algoma Blvd, Oshkosh, WI,<br />
54901, United States of America<br />
Keywords curriculum, multicultural,<br />
journals, United States of America<br />
Seija Kairavuori<br />
University of Hels<strong>in</strong>ki, Department of<br />
Teacher education, University of<br />
Hels<strong>in</strong>ki, P.O.Box 8<br />
(Siltavuorenpenger 10) FI-00014,<br />
University of Hels<strong>in</strong>ki, Hels<strong>in</strong>ki,<br />
F<strong>in</strong>land<br />
Keywords<br />
Faith Kane<br />
Loughborough University, School of<br />
the <strong>Arts</strong>, Ep<strong>in</strong>al Way, LE11 3TU,<br />
United K<strong>in</strong>gdom<br />
Keywords textiles, susta<strong>in</strong>ability<br />
Young Imm Kang Song<br />
Lesley University, 29 Everett Street,<br />
Them<strong>in</strong>a Kader is Assistant Professor of Art Education at the<br />
University of Wiscons<strong>in</strong> Oshkosh. Her primary <strong>research</strong> <strong>in</strong>terest is <strong>in</strong><br />
the field of material culture studies <strong>in</strong> art education, and its practical<br />
application to professional development of art teachers. Her own<br />
diverse background (Indian/Muslim), heritage and long experience of<br />
teach<strong>in</strong>g art <strong>in</strong> Kenyan schools provides the impetus for her other<br />
professional <strong>in</strong>terest, multicultural art education. Her academic and<br />
pedagogic endeavours conflate with her own artworks, which she has<br />
exhibited extensively <strong>in</strong> Kenya, England, Germany and the United<br />
States.<br />
› School<strong>Arts</strong>: DBAE and multicultural art education <strong>in</strong> the United States of<br />
America, International Journal of Education through Art, 1.1, 65-84.<br />
Seija Kairavuori, Ph.D, Department of Teacher education, Section of<br />
Classroom Teacher Education, university lecturer <strong>in</strong> Visual <strong>Arts</strong><br />
Education.<br />
› The identities of an arts educator: Compar<strong>in</strong>g discourses <strong>in</strong> three teacher<br />
education programmes <strong>in</strong> F<strong>in</strong>land, International Journal of Education<br />
through Art, 8.1, 7-21.<br />
Faith Kane tra<strong>in</strong>ed <strong>in</strong> constructed textiles. Hav<strong>in</strong>g obta<strong>in</strong>ed her Ph.D.<br />
(Design<strong>in</strong>g Nonwovens: Industrial and Craft Perspectives) <strong>in</strong> 2008 she<br />
now lectures <strong>in</strong> Textiles at The School of the <strong>Arts</strong>, Loughborough<br />
University where she is chair of the Textiles Research Group. Her own<br />
<strong>research</strong> focuses on the use of new and <strong>in</strong>dustrial technologies <strong>in</strong><br />
creative textile practice. Notions of susta<strong>in</strong>ability, craft and draw<strong>in</strong>g<br />
<strong>in</strong>form her work.<br />
› EXHIBITION REVIEWS, Craft Research, 2.1, 161-178.<br />
Young Imm Kang Song, Ph.D. is an Assistant Professor <strong>in</strong> the Creative<br />
<strong>Arts</strong> <strong>in</strong> Learn<strong>in</strong>g division, Graduate School of <strong>Arts</strong> and Social<br />
Sciences, at Lesley University <strong>in</strong> Cambridge, Massachusetts, United<br />
States. Her teach<strong>in</strong>g and <strong>research</strong> focus on public art, environmental
Cambridge, MA, 2138, United States<br />
of America<br />
Keywords social action,<br />
contemporary art, environmental<br />
education, environmental art, public<br />
art<br />
Ami Kantawala<br />
Teachers College, Columbia<br />
University, 525 West 120th Street,<br />
New York, NY 10023, United States<br />
of America<br />
Keywords art education<br />
Kater<strong>in</strong>a Karoussos<br />
University of Plymouth, Planetary<br />
Collegium, Drake Circus, Plymouth,<br />
PL4 8AA, United K<strong>in</strong>gdom<br />
Keywords new media, Byzant<strong>in</strong>e,<br />
mural pa<strong>in</strong>t<strong>in</strong>g<br />
Lisa Kay<br />
Temple University, Assistant<br />
art, multicultural education and museum education.<br />
› Media art remix: a tool for social action, International Journal of Education<br />
through Art, 5.2&3, 229-240.<br />
Dr. Ami Kantawala is currently Lecturer and Program Manager <strong>in</strong> <strong>Arts</strong><br />
Adm<strong>in</strong>istration at Teachers College, Columbia University <strong>in</strong> New<br />
York, and also an adjunct at Boston University’s Onl<strong>in</strong>e Masters<br />
Program <strong>in</strong> Art Education.<br />
› NAEA 2011 Conference review, Visual Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art,<br />
1.1, 81-83.<br />
Kater<strong>in</strong>a Karoussos is an artist and a <strong>research</strong>er. Her <strong>research</strong> is based<br />
on the convergence of old and new media and especially between<br />
Byzant<strong>in</strong>e and new media visual practices. From 1994 to 2003 she was<br />
the director and a co-founder of the Hellenic Center of F<strong>in</strong>e and<br />
Applied <strong>Arts</strong>. From 2004 to 2010 she was work<strong>in</strong>g at The Athens<br />
School of F<strong>in</strong>e <strong>Arts</strong> as a free lancer at the Fresco studio. She holds a<br />
Master of <strong>Arts</strong> from Middlesex University. From 2009, Karoussos has<br />
been a member of Planetary Collegium (CAiiA) as a Ph.D. Candidate<br />
under the supervision of Prof. Roy Ascott. She has participated <strong>in</strong><br />
many <strong>in</strong>ternational conferences (ISEA, Aber, Dimea, Consciousness<br />
Reframed Series). Apart from her work as a Byzant<strong>in</strong>e mural pa<strong>in</strong>ter at<br />
Orthodox churches, her work has been exhibited <strong>in</strong> various<br />
<strong>in</strong>ternational media exhibitions (Athens, Japan, Madrid, New York,<br />
Frankfurt, Montenegro, Cuba, etc.)<br />
› Homeopathy: All <strong>in</strong>clusive, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 9.1, 65-82.<br />
› Ekfrasis of the selves, Metaverse Creativity, 1.2, 207-222.<br />
Lisa Kay is an artist/<strong>research</strong>er, art educator and art therapist. She is an<br />
Assistant Professor at Temple University, Tyler School of Art and<br />
Fulbright Scholar to Hungary, 2011–2012. Her <strong>research</strong> is situated at
Professor, Art and Art Education,<br />
Tyler School of Art, B090J, Temple<br />
University, 2001 N. 13th Street,<br />
Philadelphia, PA 19122, United States<br />
of America<br />
Keywords art education, art therapy<br />
Max B. Kazemzadeh<br />
Gallaudet University, Art Department,<br />
Washburn <strong>Arts</strong> Build<strong>in</strong>g,<br />
Wash<strong>in</strong>gton, DC 20002, United States<br />
of America<br />
Keywords computer vision, <strong>in</strong>tent,<br />
mach<strong>in</strong>e learn<strong>in</strong>g, neural networks,<br />
gesture prediction<br />
Michael Keane<br />
Queensland University of<br />
Technology, Creative Industries<br />
Prec<strong>in</strong>ct, The Works Z1-515, Musk<br />
Avenue, Kelv<strong>in</strong> Grove 4059,<br />
Australia<br />
Keywords cultural policy, creative<br />
cluster, animation, creative <strong>in</strong>dustries<br />
the <strong>in</strong>tersection of art education and art therapy.<br />
› Objects of amplified context: an <strong>in</strong>terview with artist-teacher Pepón Osorio,<br />
Visual Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 21-32.<br />
Max Kazemzadeh is an electronic and emergent media artist and<br />
tenuretrack and an Assistant Professorship of Art and Media<br />
Technology at Gallaudet University , the<br />
only all deaf university <strong>in</strong> the United States. Kazemzadeh is also a<br />
Ph.D. candidate with<strong>in</strong> the Planetary Collegium. His work over the last<br />
ten years focuses on how constructed, semi-conscious <strong>in</strong>terfaces<br />
<strong>in</strong>fluence human <strong>in</strong>teraction, and he is presently <strong>in</strong>vestigat<strong>in</strong>g gesture<br />
prediction as a possible means to more directly magnify human <strong>in</strong>tent<br />
with<strong>in</strong> <strong>in</strong>teractive experiences. Kazemzadeh has served on panels,<br />
curated exhibitions, organized conferences, given workshops, received<br />
grants, written articles, given performances, and exhibited<br />
<strong>in</strong>ternationally.<br />
› Psychic systems and metaphysical mach<strong>in</strong>es: experienc<strong>in</strong>g behavioural<br />
prediction with neural networks, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.2, 189-198.<br />
Associate Professor Michael Keane is a Pr<strong>in</strong>cipal Research Fellow at<br />
the ARC Centre for Creative Industries and Innovation (CCI) at the<br />
Queensland University of Technology <strong>in</strong> Australia. He is coord<strong>in</strong>ator<br />
of Asian Creative Transformations, a <strong>research</strong> lab <strong>in</strong> the CCI. Dr<br />
Michael Keane’s <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude creative <strong>in</strong>dustries<br />
<strong>in</strong>ternationalization and <strong>in</strong>novation <strong>in</strong> Ch<strong>in</strong>a; audio-visual <strong>in</strong>dustry<br />
policy and development <strong>in</strong> Ch<strong>in</strong>a, South Korea, and Taiwan; and<br />
television formats and <strong>in</strong>dependent media production <strong>in</strong> Asia. Author<br />
of Created <strong>in</strong> Ch<strong>in</strong>a: the Great New Leap Forward (2007), his latest<br />
book is Ch<strong>in</strong>a's New Creative Clusters (Routledge 2011). He is author<br />
or coeditor of 10 books and over 80 refereed articles.<br />
› Understand<strong>in</strong>g the creative economy: A tale of two cities' clusters, Creative<br />
Industries Journal, 1.3, 211-226.
Cath Keay<br />
Newcastle University, K<strong>in</strong>gs Walk,<br />
Newcastle upon Tyne, United<br />
K<strong>in</strong>gdom<br />
Keywords visual art, photography<br />
Alexander Kelly<br />
Third Angel, 3 Brookfield Yard,<br />
Sheffield, S7 1DY, United K<strong>in</strong>gdom<br />
Keywords Third Angel, devis<strong>in</strong>g,<br />
The Lad Lit Project, autobiography,<br />
biography<br />
Christian Kerrigan<br />
Chelsea College of Art, University of<br />
the <strong>Arts</strong>, Interior & Spatial Design,<br />
London, United K<strong>in</strong>gdom<br />
Keywords biology, protocells, timebased<br />
architecture, nanotechnology,<br />
mythology<br />
Kath Ceay is a doctoral candidate at Newcastle University. Her current<br />
work <strong>in</strong>volves three large terracotta word sculptures that have been<br />
placed <strong>in</strong> the sea underneath the pier at Blyth, to be colonised by<br />
barnacles, mussels and sea squirts. After this colonisation has taken<br />
place, and the orig<strong>in</strong>al sculptures almost obliterated by sea life, they<br />
will be transferred, still liv<strong>in</strong>g, to tanks for exhibition.<br />
› Colonie Estive, Journal of Visual Art Practice, 9.3, 259-266.<br />
Alexander Kelly is Co-Artistic Director of Sheffield-based<br />
performance company Third Angel, with which he devises, directs,<br />
writes, designs and performs. The company makes a range of work<br />
<strong>in</strong>corporat<strong>in</strong>g live performance, <strong>in</strong>stallation, film, video and<br />
photography that tours throughout the United K<strong>in</strong>gdom, ma<strong>in</strong>land<br />
Europe and beyond. Thematically and formally the company's work<br />
explores and responds to the times and places <strong>in</strong> which we live,<br />
comb<strong>in</strong><strong>in</strong>g documentary <strong>research</strong>, fiction and autobiography. As part of<br />
the collaboration ‘Christopher Hall and Alexander Kelly’, Alex makes<br />
film, video and performance pieces of a somewhat more blokey nature<br />
than he does with Third Angel. Alex is an experienced educator, and<br />
has taught at numerous universities across the United K<strong>in</strong>gdom. He has<br />
also taught for Third Angel at the Calouste Gulbenkian Foundation <strong>in</strong><br />
Lisbon. He is Associate Senior Lecturer <strong>in</strong> Performance Practice at<br />
Leeds Metropolitan University.<br />
› GHOSTWRITING FOR PERFORMANCE: Third Angel's The Lad Lit<br />
Project, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.1, 69-90.<br />
The 200 Year Cont<strong>in</strong>uum is the title given to Christian Kerrigan’s<br />
progressive anthology of works, question<strong>in</strong>g and respond<strong>in</strong>g to<br />
society’s relationship with, and understand<strong>in</strong>g of, emerg<strong>in</strong>g<br />
technologies and ecology. In his art he uses digital technology to make<br />
objects, <strong>in</strong>stallations, and draw<strong>in</strong>gs which draw out an array of ideas<br />
about nature, technology and mortality. Kerrigan is currently Associate<br />
Lecturer <strong>in</strong> Draw<strong>in</strong>g for Spatial Design at Chelsea College of Art, and<br />
is the V&A’s first digital Artist <strong>in</strong> Residence. His work has been<br />
published alongside artists such as Joseph Beuys, Jeanne Claude &<br />
Christo and Olafur Eliasson <strong>in</strong> 'Art <strong>in</strong> Action, Nature, Creativity and<br />
Our Collective Future' by Natural World Museum & UNEP.<br />
› The 200-Year Cont<strong>in</strong>uum, Technoetic <strong>Arts</strong>: A Journal of Speculative
Joachim Kettel<br />
University of Education Karlsruhe,<br />
Visual <strong>Arts</strong> and Didactics,<br />
Bismarckstr. 10, 76133 Karlsruhe,<br />
Germany<br />
Keywords secondary education,<br />
identity, case study, Uganda, modern<br />
art<br />
Hasan-Udd<strong>in</strong> Khan<br />
Roger Williams University<br />
Keywords<br />
Mike K<strong>in</strong>g<br />
London Metropolitan University, 166-<br />
220 Holloway Roa, London, N7 8DB,<br />
United States of America<br />
Research, 7.2, 121-132.<br />
Dr. Joachim Kettel is an artist, art educator, and Professor of Visual<br />
<strong>Arts</strong> and Didactics at the University of Education, Karlsruhe. He has<br />
been a member of Deutscher Künstlerbund, Berl<strong>in</strong> s<strong>in</strong>ce 1989. He was<br />
co-founder of the European Council of Artists, based <strong>in</strong> Copenhagen,<br />
Denmark. S<strong>in</strong>ce 1994 he has been <strong>in</strong>volved <strong>in</strong> the development and<br />
organization of <strong>in</strong>ternational art projects and congresses. His <strong>research</strong><br />
<strong>in</strong>terests are aesthetics and arts, art and artistic education, systems<br />
theory and constructivism. Recent publications <strong>in</strong>clude<br />
SelbstFREMDheit. Elemente e<strong>in</strong>er anderen kunstpädagogik and<br />
Künstlerische bildung nach Pisa - Neue wege zwischen kunst und<br />
bildung.<br />
› Titanstraße: a bridge between cultures: a text photo story, International<br />
Journal of Education through Art, 1.2, 115-126.<br />
› Francis Musango: his contribution to art and art education <strong>in</strong> Uganda,<br />
International Journal of Education through Art, 1.2, 127-142.<br />
Hasan-Udd<strong>in</strong> Khan is an architect and writer <strong>who</strong> has worked and lived<br />
all over the globe. He was Editor-<strong>in</strong>-Chief of the <strong>in</strong>ternational journal<br />
Mimar: Architecture <strong>in</strong> Development and coord<strong>in</strong>ated His Highness the<br />
Aga Khan's worldwide architectural activities between 1984 and 1994.<br />
He has been Visit<strong>in</strong>g Professor at MIT and Berkeley; and jo<strong>in</strong>ed Roger<br />
Williams University <strong>in</strong> 1999 as Dist<strong>in</strong>guished Professor of Architecture<br />
and Historic Preservation. He lectures widely, and is editor/author of<br />
n<strong>in</strong>e books and over sixty published articles.<br />
› Editorial: Towards a New Paradigm for the Architecture and <strong>Arts</strong> of Islam,<br />
International Journal of Islamic Architecture, 1.1, 5-22.<br />
Mike K<strong>in</strong>g is Reader <strong>in</strong> Computer Art and Animation at London<br />
Metropolitan University. He is a director of the Centre for Postsecular<br />
Studies which pursues <strong>in</strong>terdiscipl<strong>in</strong>ary <strong>research</strong> <strong>in</strong> culture and spirit, a<br />
director of the Scientific and Medical network (science and<br />
spirituality), and is on the steer<strong>in</strong>g group for the University for Spirit
Keywords post-secular, shamanism,<br />
transcendence, Anish Kapoor, Bill<br />
Viola<br />
Anthony D. K<strong>in</strong>g<br />
B<strong>in</strong>ghamton University (retired)<br />
Keywords<br />
Clare Kitson<br />
Keywords television, animation,<br />
broadcast<strong>in</strong>g<br />
Jack Klaff<br />
Intelligence Squared, Intelligence<br />
Squared, 6th Floor, Newcombe<br />
House, 45 Nott<strong>in</strong>g Hill Gate, London,<br />
W11 3LQ, United K<strong>in</strong>gdom<br />
Forum.<br />
› Art and the postsecular, Journal of Visual Art Practice, 4.1, 3-18.<br />
Anthony D. K<strong>in</strong>g, Emeritus Professor of Art History and Sociology at<br />
B<strong>in</strong>ghamton University, State University of New York, now lives <strong>in</strong><br />
the United K<strong>in</strong>gdom. He has published on the impact of colonialism<br />
and globalization on build<strong>in</strong>g and urban form, <strong>in</strong>clud<strong>in</strong>g Spaces of<br />
Global Cultures: Architecture, Urbanism, Identity (2004) and, most<br />
recently, ‘Imperialism and World Cities’ <strong>in</strong> Ben Derudder, Michael<br />
Hoylake, Peter Taylor and Frank Wilcox (eds.), International<br />
Handbook of Globalization and World Cities (London: Edward<br />
Elgar, 2011). With Thomas A. Markus he is co-editor of the Routledge<br />
Architext series on architecture and social/cultural theory.<br />
› Book Reviews, International Journal of Islamic Architecture, 1.1, 151-168.<br />
Clare Kitson scheduled animation programmes at the Los Angeles<br />
County Museum of Art <strong>in</strong> the early 1970s and was a programmer at the<br />
National Film Theatre <strong>in</strong> the 1980s. From 1989 to 1999 she<br />
commissioned Channel 4’s animation. Her highly-praised book Yuri<br />
Norste<strong>in</strong> and Tale of Tales: An animator’s journey (John Libbey<br />
Publish<strong>in</strong>g) appeared <strong>in</strong> 2005. Clare Kitson’s latest book, British<br />
animation: The Channel 4 factor is soon to be published by Parliament<br />
Hill Publish<strong>in</strong>g.<br />
› British animation and Channel 4: The role of broadcast<strong>in</strong>g <strong>in</strong> nurtur<strong>in</strong>g new<br />
talent and creativity <strong>in</strong> the animation <strong>in</strong>dustry, Creative Industries Journal,<br />
3.3, 207-220.<br />
Jack Klaff is an author, freelance writer, actor, director and academic.<br />
His orig<strong>in</strong>al tra<strong>in</strong><strong>in</strong>g was <strong>in</strong> Law and Economics. Dismayed by the way<br />
economics was taught, he wrote an explanatory book for students,<br />
which is still circulat<strong>in</strong>g. He then tra<strong>in</strong>ed at the Bristol Old Vic Theatre<br />
School. Klaff has also received two Sony Silver certificates for radio<br />
act<strong>in</strong>g, a T<strong>in</strong>niswood nom<strong>in</strong>ation for radio scripts, two Fr<strong>in</strong>ge Firsts at<br />
the Ed<strong>in</strong>burgh Festival for his one-man shows, the Jack Hargreaves
Keywords freelance writer, actor,<br />
director, author<br />
Robert C. Kloosterman<br />
University of Amsterdam, Amsterdam<br />
Institute of Social Science Research,<br />
Nieuwe Pr<strong>in</strong>sengracht 130,<br />
Amsterdam, 101 8VZ, Netherlands<br />
Keywords markets, commodification,<br />
<strong>in</strong>novation, creativity, cultural<br />
<strong>in</strong>dustries<br />
Christopher Klopper<br />
Griffith University, School of<br />
Education and Professional Studies,<br />
Gold Coast Campus, Queensland,<br />
4222, Australia<br />
Keywords collective knowledge<br />
shar<strong>in</strong>g of professional practice,<br />
practitioner enquiry, classroom-based<br />
<strong>research</strong>, arts education<br />
Aki Koike<br />
Dentsu Inc. 1-8-1, Higashi-shimbashi,<br />
M<strong>in</strong>ato-ku, Tokyo, 105-7001, Japan<br />
Award from the BBC Script Unit for <strong>in</strong>novative use of the medium of<br />
television, and a Herald Archangel <strong>in</strong> 2010. He has been a visit<strong>in</strong>g<br />
speaker, tutor, workshop leader or ‘professor’ at a wide range of<br />
<strong>in</strong>stitutions with<strong>in</strong> the United K<strong>in</strong>gdom and around the world; such<br />
engagements have <strong>in</strong>cluded four Visit<strong>in</strong>g Professorships at Pr<strong>in</strong>ceton<br />
University.<br />
› <strong>Arts</strong> and human rights: From my notebooks, Journal of <strong>Arts</strong> & Communities,<br />
2.2, 93-109.<br />
Robert Kloosterman is Professor <strong>in</strong> Economic Geography at the<br />
University of Amsterdam and Programme Leader of the <strong>research</strong> group<br />
Geographies of Globalisation at the Amsterdam Institute for Social<br />
Science Research. His <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> socio-economic<br />
trajectories of cities, local embeddedness and global networks of<br />
production and consumption, and the impact of <strong>in</strong>stitutional differences<br />
on economic activities.<br />
› Keep<strong>in</strong>g the market at bay: explor<strong>in</strong>g the loci of <strong>in</strong>novation <strong>in</strong> the cultural<br />
<strong>in</strong>dustries, Creative Industries Journal, 3.1, 61-77.<br />
Christopher Klopper is a senior lecturer <strong>in</strong> the School of Education and<br />
Professional Studies at Griffith University, Gold Coast, Australia.<br />
Christopher publishes <strong>in</strong> the field of pre-service creative arts education,<br />
more specifically relat<strong>in</strong>g to music education; <strong>in</strong>tentional provision of<br />
music <strong>in</strong> early childhood sett<strong>in</strong>gs; and trans-national <strong>in</strong>tercultural<br />
musical communication.<br />
› Illum<strong>in</strong>at<strong>in</strong>g the gap: An overview of classroom-based arts education<br />
<strong>research</strong> <strong>in</strong> Australia, International Journal of Education through Art, 6.3,<br />
293-308.<br />
Aki Koike is currently work<strong>in</strong>g as an account executive for a fullservice<br />
advertis<strong>in</strong>g agency, Dentsu Inc. She has studied <strong>in</strong> Tokyo and<br />
Berl<strong>in</strong>, and graduated with an MA <strong>in</strong> Cultural and Creative Industries<br />
from K<strong>in</strong>g’s College London.
Keywords animation, Japan, creative<br />
<strong>in</strong>dustry › Work<strong>in</strong>g conditions of animators: The real face of the Japanese animation<br />
<strong>in</strong>dustry, Creative Industries Journal, 3.3, 261-271.<br />
Katarzyna Kosmala<br />
University of the West of Scotland,<br />
University of the West of Scotland,<br />
Faculty of Bus<strong>in</strong>ess and Creative<br />
Industries, Paisley PA1 2BE Paisley<br />
Keywords<br />
Mitchell Kossak<br />
Lesley University, 29 Everett Street,<br />
Cambridge, MA, 2138, United States<br />
of America<br />
Keywords mental health, therapeutic<br />
massage, expressive arts therapies<br />
Dr Katarzyna Kosmala is Reader <strong>in</strong> Visual Culture at the Centre for<br />
Contemporary European Studies, University of the West of Scotland<br />
and Visit<strong>in</strong>g Research Fellow at GEXcel, Institute of Thematic Gender<br />
Studies, L<strong>in</strong>köp<strong>in</strong>g University and örebro University, Sweden. She is<br />
also a curator and freelance art writer. She writes <strong>in</strong> English on aspects<br />
of construction and representation of gender and identity politics <strong>in</strong><br />
contemporary (visual) culture, predom<strong>in</strong>antly <strong>in</strong> the context of Central<br />
Eastern Europe. She has published <strong>in</strong> Third Text, N.Paradoxa, Culture<br />
and Organization, the International Journal of the <strong>Arts</strong> <strong>in</strong> Society,<br />
Opcje, Obieg, Sekcja Magazyn Artystyczny and <strong>Arts</strong> Marg<strong>in</strong>s. She is<br />
currently <strong>in</strong>volved <strong>in</strong> the AHRC-funded project 'Translat<strong>in</strong>g East<br />
European & Russian cultures: Exchange and communication with<strong>in</strong> a<br />
multidiscipl<strong>in</strong>ary and multicultural area studies context' (<strong>in</strong><br />
collaboration with the University of Glasgow). She is also work<strong>in</strong>g on<br />
book entitled Imag<strong>in</strong><strong>in</strong>g Men, Imag<strong>in</strong><strong>in</strong>g Mascul<strong>in</strong>ities (Routledge).<br />
› Temporality and alteration of social boundaries <strong>in</strong> the mak<strong>in</strong>g of an art<br />
<strong>in</strong>stallation, Creative Industries Journal, 4.1, 53-69.<br />
Mitchell Kossak is Assistant Professor and Division Director, Division<br />
of Expressive Therapies at Lesley University, United States. He is also<br />
the co-chair of The Institute For Body, M<strong>in</strong>d and Spirituality. He has<br />
presented his work and <strong>research</strong> at conferences nationally and<br />
<strong>in</strong>ternationally. He is a licensed mental health counselor, and nationally<br />
certified <strong>in</strong> therapeutic massage and bodywork. His cl<strong>in</strong>ical work<br />
comb<strong>in</strong>es expressive arts therapies with body-centered approaches with<br />
a variety of populations. His doctoral studies was <strong>in</strong> Interdiscipl<strong>in</strong>ary<br />
Studies with a concentration <strong>in</strong> Psychology and a specialization <strong>in</strong><br />
Transpersonal Psychology and Expressive <strong>Arts</strong> Therapies. His current<br />
<strong>research</strong> focuses on art based improvisational structures that can lead<br />
toward and enhance therapeutic attunement.<br />
› Reviews, Journal of Applied <strong>Arts</strong> & Health, 1.2, 223-231.<br />
› Editorial, Journal of Applied <strong>Arts</strong> & Health, 1.2, 133-137.<br />
› REVIEWS, Journal of Applied <strong>Arts</strong> & Health, 2.2, 187-198.<br />
› EDITORIAL, Journal of Applied <strong>Arts</strong> & Health, 2.2, 107-111.
Adam Kossoff<br />
Keywords video, mov<strong>in</strong>g image,<br />
space, <strong>in</strong>stallation art, technics<br />
Ourania Kouvou<br />
National & Kapodistrian University<br />
of Athens, Department of Early<br />
Childhood Education, 13a Navar<strong>in</strong>ou<br />
Street, Athens, 106 80, Greece<br />
Keywords art education, visual arts,<br />
children's draw<strong>in</strong>gs, art as cognition<br />
Anja Kraus<br />
Pädagogische Hochschule<br />
Ludwigsburg, Fakultät für<br />
Erziehungs- und<br />
Gesellschaftswissenschaften,<br />
Reuteallee 46, Ludwigsburg, 71634,<br />
Germany<br />
Keywords artworks, learn<strong>in</strong>g<br />
environments, displacement, situated<br />
learn<strong>in</strong>g, competencies<br />
Gunter Kreutz<br />
Oldenburg University, Carl von<br />
Ossietzky Universität Oldenburg,<br />
Adam Kossoff is an artist, film-maker and writer. He teaches at the<br />
School of Art and Design, University of Wolverhampton. His work,<br />
both gallery-based and s<strong>in</strong>gle screen, addresses the relationship of the<br />
mov<strong>in</strong>g image to differ<strong>in</strong>g spatial and technological contexts. His most<br />
recent film, a documentary essay, is Made <strong>in</strong> Wolverhampton (2011).<br />
› Technics and otherness: William Raban's About Now MMX, Mov<strong>in</strong>g Image<br />
Review & Art Journal MIRAJ, 1.1, 125-128.<br />
Ourania Kouvou lectures <strong>in</strong> Art Education <strong>in</strong> the Education<br />
Department of Athens University and Art History at the American<br />
College, Greece. She has published papers on the history of art<br />
education <strong>in</strong> various journals with a particular emphasis on curriculum<br />
models and has co-authored art textbooks for the Greek Lyceum and<br />
High School published by the M<strong>in</strong>istry of Education. She was awarded<br />
a <strong>research</strong> fellowship <strong>in</strong> art education at Pr<strong>in</strong>ceton University (1999)<br />
and has presented papers at <strong>in</strong>ternational art education conferences <strong>in</strong><br />
New York, London, Dubl<strong>in</strong> and Rethimnon (Crete).<br />
› Draw<strong>in</strong>g or writ<strong>in</strong>g the circle: an <strong>in</strong>vestigation <strong>in</strong>to the cognitive potential of<br />
art, International Journal of Education through Art, 2.3, 183-193.<br />
Anja Kraus, MA, Dr. Phil., is Assistant Professor at the Faculty of<br />
Educational Science, Padagogosche Hochscule Ludwigsburg. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude: theories of bodily learn<strong>in</strong>g and corporality <strong>in</strong><br />
schools, <strong>in</strong>tegration of artistic concepts <strong>in</strong>to pedagogy and <strong>research</strong> <strong>in</strong>to<br />
classroom teach<strong>in</strong>g.<br />
› (Do<strong>in</strong>g) art as an <strong>in</strong>terdiscipl<strong>in</strong>ary didactic pr<strong>in</strong>ciple, International Journal of<br />
Education through Art, 4.3, 275-284.<br />
Gunter Kreutz is Professor of Systematic Musicology, Oldenburg<br />
University, Oldenburg, Germany. Gunter Kreutz studied (historical)<br />
musicology, media studies and literature at the University of Marburg,<br />
and (systematic) musicology and Communication Scientific basis of
Ammerländer Heerstraße 114-118,<br />
Oldenburg, D-26129, Germany<br />
Keywords choral s<strong>in</strong>g<strong>in</strong>g,<br />
psychological, well-be<strong>in</strong>g,<br />
WHOQOL-BREF, cross-national<br />
survey<br />
Michael Kroel<strong>in</strong>ger<br />
University of Nevada Las Vegas,<br />
School of Architecture, Paul B. Sogg<br />
Architecture Build<strong>in</strong>g, 4505 Maryland<br />
Parkway; Box 454018, Las Vegas,<br />
NV, 89154-4018, United States of<br />
America<br />
Keywords Doctoral education,<br />
doctoral programme structure,<br />
doctoral programme plann<strong>in</strong>g<br />
Ted Krueger<br />
Rensselaer Polytechnic Institute,<br />
School of Architecture, Green<br />
Build<strong>in</strong>g 106, 110th, Troy, New<br />
York, NY 10180, United States of<br />
America<br />
Keywords embodiment, perception,<br />
prosthetics, senses, sensory<br />
substitution, extreme environments,<br />
architecture<br />
speech and music at the Technical University of Berl<strong>in</strong>. After a year<br />
abroad study<strong>in</strong>g at the San Francisco State University, United States,<br />
he earned Master of <strong>Arts</strong> degree from the Technical University of<br />
Berl<strong>in</strong>. In 2004 he was appo<strong>in</strong>ted University Lecturer <strong>in</strong> Music<br />
Education at the Goethe University <strong>in</strong> Frankfurt, with a focus on<br />
systematic musicology. From April 2006 to April 2008 Kreutz worked<br />
as a Research Fellow at the Royal Northern College of Music,<br />
Manchester, United K<strong>in</strong>gdom. In February 2008 he was offered a<br />
professorship of Systematic Musicology at the Carl von Ossietzky<br />
University of Oldenburg. His <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> music (neuro)<br />
cognitive and emotional (social) psychology of music, performance,<br />
music and health <strong>research</strong>.<br />
› Choral s<strong>in</strong>g<strong>in</strong>g and psychological wellbe<strong>in</strong>g: Quantitative and qualitative<br />
f<strong>in</strong>d<strong>in</strong>gs from English choirs <strong>in</strong> a cross-national survey, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.1, 19-34.<br />
Michael D. Kroel<strong>in</strong>ger, Ph.D., AIA, FIIDA, LC is a Professor and is<br />
the Director of the School of Architecture at the University of Nevada<br />
Las Vegas. He received an <strong>in</strong>terdiscipl<strong>in</strong>ary Ph.D. from the University<br />
of Tennessee; the M.Arch. <strong>in</strong> desert architecture from the University of<br />
Arizona; the MSc from the University of Tennessee; and the BSc from<br />
the University of Alabama. He has taught at the University of North<br />
Carol<strong>in</strong>a, Colorado State University, the University of Tennessee, and<br />
Arizona State University prior to jo<strong>in</strong><strong>in</strong>g ULV <strong>in</strong> January 2003. In<br />
2003, Kroel<strong>in</strong>ger became a Professor Emeritus at Arizona State<br />
University prior to jo<strong>in</strong><strong>in</strong>g ULV <strong>in</strong> January 2003.<br />
› Issues for <strong>in</strong>itiat<strong>in</strong>g <strong>in</strong>terdiscipl<strong>in</strong>ary doctoral programmes, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 1.1, 183-207.<br />
Ted Krueger is the Associate Dean and Associate Professor of<br />
Architecture at the Rensselaer Polytechnic Institute where he is the<br />
Director of the Ph.D. programme <strong>in</strong> the Architectural Sciences.<br />
Krueger is currently undertak<strong>in</strong>g a Ph.D. <strong>in</strong> Architecture from the<br />
Royal Melbourne Institute of Technology. His <strong>research</strong> <strong>in</strong>terests<br />
concern human–environment <strong>in</strong>teraction, the architecture of extreme<br />
environments and perceptual prosthetics. He has exhibited, published<br />
and lectured on an <strong>in</strong>ternational basis for twenty years.<br />
› Nonsense, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 4.3, 183-192.
Sheng Kuan Chung<br />
University of Houston, Department of<br />
Curriculum and Instruction, 256<br />
Farish Hall, Houston, Texas, TX<br />
77204-0947, United States of<br />
America<br />
Keywords media violence, art<br />
education, visual culture<br />
Iryna Kuksa<br />
Staffordshire University, Centre for<br />
Media <strong>Arts</strong> and Technologies, Apt 98,<br />
Latitude, 155 Bromsgrove Street,<br />
Birm<strong>in</strong>gham, B5 6AB, United<br />
K<strong>in</strong>gdom<br />
Keywords practice-based <strong>research</strong>,<br />
art, design, technology, new media,<br />
Second Life, cultural policy,<br />
education<br />
Ajay Kumar<br />
Goldsmiths College - University of<br />
Sheng Kuan Chung is Associate Professor and Graduate Program<br />
Director of Art Education at the University of Houston, Texas. He<br />
holds a B.Ed. from National Hs<strong>in</strong>chu Teachers College <strong>in</strong> Taiwan, an<br />
MA from New York University, and a doctorate from the University of<br />
Ill<strong>in</strong>ois, Urbana-Champaign. Sheng has authored over 30 papers<br />
published <strong>in</strong> the United K<strong>in</strong>gdom, the United States, and Taiwan. His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude: social reconstructionist art education,<br />
multiculturalism, critical visual/media literacy, social issues, and Asian<br />
aesthetics. He has served as an art judge for the National Scholastic Art<br />
Competition and a grant reviewer for the Texas Commission on the<br />
<strong>Arts</strong>. His artworks have been shown <strong>in</strong> over twenty juried exhibitions.<br />
He is currently on the editorial board for Art Education, the journal of<br />
the National Art Education Association <strong>in</strong> the United States.<br />
› An exploration of media violence <strong>in</strong> a junior-high school art classroom,<br />
International Journal of Education through Art, 3.1, 57-68.<br />
Iryna Kuska is a scholar <strong>in</strong>terested <strong>in</strong> practice-based <strong>research</strong>. In her<br />
work she focuses on the dialogue between art, design, education and<br />
new media technologies. She explores the role of multimedia with<strong>in</strong><br />
the field of theatre studies and cultural heritage <strong>research</strong>, <strong>in</strong>vestigat<strong>in</strong>g<br />
how novel methodologies, <strong>in</strong>clud<strong>in</strong>g 3D reconstruction of historical<br />
artefacts and events, can be applied to pedagogical and creative<br />
practices. She is especially <strong>in</strong>terested <strong>in</strong> exam<strong>in</strong><strong>in</strong>g various IT<br />
applications that transformed the way we experience, learn and cocreate<br />
our culture. In order to illustrate how computer-generated<br />
environments and virtual worlds like Second Life could change the<br />
way we perceive and deliver cultural values, she <strong>research</strong>es a suite of<br />
rapidly-develop<strong>in</strong>g communication and computer-visualization<br />
techniques, which enable reciprocal exchange between viewers and<br />
artefacts. Her <strong>research</strong> is <strong>in</strong>herently <strong>in</strong>terdiscipl<strong>in</strong>ary, l<strong>in</strong>k<strong>in</strong>g the fields<br />
of design, theatre studies, multimedia, cultural policy and education.<br />
› Virtual reality <strong>in</strong> theatre education and design practice – new developments<br />
and applications, Art, Design & Communication <strong>in</strong> Higher Education, 7.2,<br />
73-89.<br />
Ajay Kumar is a lecturer at Goldsmiths College, University of London.<br />
He is also an award-w<strong>in</strong>n<strong>in</strong>g and critically acclaimed practitioner. His<br />
field of <strong>research</strong> concerns an <strong>in</strong>terrelation between art and ontology.<br />
Specifically he is <strong>in</strong>vestigat<strong>in</strong>g themes apropos the nature of be<strong>in</strong>g
London, Lewisham Way New Cross,<br />
London, SE14 6NW, United<br />
K<strong>in</strong>gdom<br />
Keywords cultural plurality,<br />
<strong>in</strong>terdiscipl<strong>in</strong>arity, <strong>in</strong>teractivity, self<br />
and peer analysis<br />
Gregorij Kurillo<br />
University of California, Berkeley,<br />
736 Sutardja Dai Hall #1758,<br />
Berkeley, CA 94720-1758, United<br />
States of America<br />
Keywords metaverse, virtual<br />
collaborative systems, cyberarchaeology<br />
Marius Kw<strong>in</strong>t<br />
University of Portsmouth, School of<br />
Art, Design, and Media, Eldon<br />
Build<strong>in</strong>g, W<strong>in</strong>ston Churchill Avenue,<br />
Portsmouth, PO1 2DJ, United<br />
K<strong>in</strong>gdom<br />
Keywords media, culture studies, pop<br />
culture, British studies, design, art,<br />
contemporary art<br />
sought, based on the concept of dependent orig<strong>in</strong>ation,with<strong>in</strong> the<br />
dynamic <strong>in</strong>terrelation of body-space-nature-art-science-technology.<br />
› Zen and the art of peer and selfassessment <strong>in</strong> <strong>in</strong>terdiscipl<strong>in</strong>ary, multimedia,<br />
site-specific arts practice: a transcultural approach, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 2.3, 131-142.<br />
Gregorij Kurillo received a BSc and Ph.D. degrees from the Faculty of<br />
Electrical Eng<strong>in</strong>eer<strong>in</strong>g, University of Ljubljana, Slovenia, <strong>in</strong> 2001 and<br />
2006 respectively. He was a <strong>research</strong> assistant at the Laboratory of<br />
Robotics and Biomedical Eng<strong>in</strong>eer<strong>in</strong>g at the same <strong>in</strong>stitution from<br />
2002 to 2006 <strong>research</strong><strong>in</strong>g the application of robotic grasp<strong>in</strong>g pr<strong>in</strong>ciples<br />
to human grasp<strong>in</strong>g analysis <strong>in</strong> virtual environments. He has also<br />
participated <strong>in</strong> two European Union funded projects (iMatch and<br />
Allad<strong>in</strong>), which focused on a virtual reality simulation for the tra<strong>in</strong><strong>in</strong>g<br />
of wheelchair users and the development of a force- measur<strong>in</strong>g<br />
platform for assessment of post-stroke patients. Dr. Kurillo was a<br />
postdoctoral <strong>research</strong>er at the University of California, Berkeley from<br />
2006–2009. Dur<strong>in</strong>g his postdoctoral appo<strong>in</strong>tment he has worked on<br />
improv<strong>in</strong>g the exist<strong>in</strong>g multi-camera system for tele-immersion.<br />
› Cyber-archaeology and metaverse collaborative systems, Metaverse<br />
Creativity, 1.1, 7-19.<br />
Marius Kw<strong>in</strong>t has been a Departmental Lecturer s<strong>in</strong>ce 1999. Previously<br />
he taught media and cultural studies at Southampton Institute, before<br />
becom<strong>in</strong>g Senior Research Fellow <strong>in</strong> History of Design at the Victoria<br />
and Albert Museum and Royal College of Art. His background<br />
<strong>in</strong>terests are <strong>in</strong> British popular culture, material culture and design from<br />
the eighteenth century to the present day. He edited the book Material<br />
Memories: Design and Evocation (Oxford 1999); other publications<br />
<strong>in</strong>clude articles on his doctoral topic of eighteenth-century English<br />
circuses and on the history of the souvenir, and catalogue essays for<br />
several exhibitions of contemporary art.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 5.1, 71-.
George Kyeyune<br />
Makerere University, School of Art,<br />
PO Box 7062, Kampala, Uganda<br />
Keywords Uganda, modern art, art<br />
education, Musango<br />
Tarja-Kaar<strong>in</strong>a Laamanen<br />
University of Hels<strong>in</strong>ki, Center for<br />
Research on Activity, Development<br />
and Learn<strong>in</strong>g, PO Box 9,<br />
Siltavuorenpenger 1 A, Hels<strong>in</strong>ki, FI-<br />
00014, F<strong>in</strong>land<br />
Keywords craft, craft-based design,<br />
art, design activity, social <strong>in</strong>teraction<br />
Vasiliki Labitsi<br />
University of the Aegean, Preschool<br />
Education, Propondithos 16, Oropos<br />
Attikis, 19015, Greece<br />
Keywords children's draw<strong>in</strong>g,<br />
preschool and primary education, art<br />
education, visual narrative, children's<br />
books, illustration, Greece<br />
George Kyeyune is a graduate artist with degrees from the Margaret<br />
Trowell School of F<strong>in</strong>e <strong>Arts</strong> (now the Margaret Trowell School of<br />
Industrial and F<strong>in</strong>e <strong>Arts</strong>), Makerere University, Uganda and the<br />
Maharaja Sayajiraho University of Baroda, India. In 1990 he took up a<br />
teach<strong>in</strong>g position <strong>in</strong> Sculpture at Makarere Art School where he is now<br />
Associate Professor of Sculpture. In 1999 he received a<br />
Commonwealth scholarship for doctoral study <strong>in</strong> the history of African<br />
art at the School of Oriental and African Studies, University of<br />
London. His studies focus specifically on changes and developments <strong>in</strong><br />
Uganda’s visual art <strong>in</strong> the twentieth century. He is a member of the<br />
Ngoma International Artists Workshop.<br />
› Francis Musango: his contribution to art and art education <strong>in</strong> Uganda,<br />
International Journal of Education through Art, 1.2, 127-142.<br />
Tarja-Kaar<strong>in</strong>a Laamanen is a craft-based designer and a doctoral<br />
student <strong>in</strong> the Department of Home Economics and Craft Science. She<br />
is writ<strong>in</strong>g her Ph.D. concern<strong>in</strong>g early phases of the design process. Her<br />
<strong>research</strong> <strong>in</strong>cludes the nature of design activity, the nature of ideation,<br />
<strong>in</strong>ternal and external representations, the nature of mental images and<br />
the role of social <strong>in</strong>teraction.<br />
› Sources of <strong>in</strong>spiration and mental image <strong>in</strong> textile design process, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 7.2, 105-119.<br />
Vasiliki Labitsi is an educational consultant for the Greek M<strong>in</strong>istry of<br />
Education as well as be<strong>in</strong>g a children's book illustrator and teach<strong>in</strong>g art<br />
education <strong>in</strong> the Education Department at Athens University. She has<br />
undergraduate degrees <strong>in</strong> Primary Education and Sociology, Master's<br />
degrees <strong>in</strong> Art Education and Children's Literature and has also studied<br />
illustration. She has recently completed a Ph.D. <strong>in</strong> Art Education at<br />
Roehampton University. She has illustrated children's books for several<br />
Greek publish<strong>in</strong>g houses and her illustrations have been exhibited <strong>in</strong><br />
Greece and Europe. She has also worked as assistant editor of the<br />
International Journal of Education Through Art.<br />
› ‘Climb<strong>in</strong>g to reach the sunset’: an <strong>in</strong>quiry <strong>in</strong>to the representation of narrative<br />
structures <strong>in</strong> Greek children's draw<strong>in</strong>gs, International Journal of Education<br />
through Art, 3.3, 185-193.
Henna Lahti<br />
University of Hels<strong>in</strong>ki, Department of<br />
Philosophy, P.O. Box 9,<br />
Siltavuorenpenger 20 D), Hels<strong>in</strong>ki,<br />
14, F<strong>in</strong>land<br />
Keywords design education, design<br />
experiment, collaborative design<strong>in</strong>g,<br />
textile design project, virtual design<br />
studio<br />
Ela<strong>in</strong>e Lally<br />
University of Western Sydney, Media<br />
Studies, Locked Bag 1797, Penrith,<br />
NSW 2751, Australia<br />
Keywords seniors, well-be<strong>in</strong>g,<br />
s<strong>in</strong>g<strong>in</strong>g, evidence, creativity<br />
Nancy Lampert<br />
Virg<strong>in</strong>ia Commonwealth University,<br />
Department of Art Education, PO Box<br />
843084, Richmond, VA, 23284,<br />
United States of America<br />
Keywords art education, critical<br />
th<strong>in</strong>k<strong>in</strong>g<br />
Anne Lanceley<br />
University College London, UCL<br />
Institute for Women’s Health,<br />
Medical School Build<strong>in</strong>g, 74 Huntley<br />
Street, London, WC1E 6AU, United<br />
Henna Lahti is a doctoral student <strong>in</strong> the Graduate School of<br />
Multidiscipl<strong>in</strong>ary Research on Learn<strong>in</strong>g Environments, based <strong>in</strong><br />
Department of Home Economics and Craft Science at the University of<br />
Hels<strong>in</strong>ki <strong>in</strong> F<strong>in</strong>land. She is f<strong>in</strong>ish<strong>in</strong>g her Ph.D. concern<strong>in</strong>g computersupported<br />
collaborative design.<br />
› Three design experiments for computer-supported collaborative design, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 4.2, 101-120.<br />
Dr. Ela<strong>in</strong>e Lally is Associate Professor, Creative Digital Studies, at the<br />
University of Technology, Sydney. Her <strong>research</strong> focuses on cultural<br />
aspects of <strong>in</strong>formation technology and on arts and cultural policy,<br />
especially <strong>in</strong> local government. Dr. Lally is the author of At Home with<br />
Computers (Berg 2002), and her recent <strong>research</strong> <strong>in</strong>cludes Australian<br />
Research Council funded projects, contract <strong>research</strong> and consultancies<br />
for <strong>Arts</strong> NSW and the Australia Council for the <strong>Arts</strong>.<br />
› ‘The power to heal us with a smile and a song’: Senior Well-be<strong>in</strong>g, Musicbased<br />
Participatory <strong>Arts</strong> and the Value of Qualitative Evidence, Journal of<br />
<strong>Arts</strong> & Communities, 1.1, 25-44.<br />
Dr. Nancy Lampert is an assistant professor <strong>in</strong> the Department of Art<br />
Education, <strong>in</strong> the School of the <strong>Arts</strong> at Virg<strong>in</strong>ia Commonwealth<br />
University, Richmond, Virg<strong>in</strong>ia. Her <strong>research</strong> on critical th<strong>in</strong>k<strong>in</strong>g has<br />
been published <strong>in</strong> numerous journals, and she has also presented her<br />
<strong>research</strong> regionally, nationally and <strong>in</strong>ternationally.<br />
› A study of an after-school art programme and critical th<strong>in</strong>k<strong>in</strong>g, International<br />
Journal of Education through Art, 7.1, 55-67.<br />
Anne Lanceley is a senior lecturer and Nurse Specialist at UCL<br />
Institute for Women’s Health. She comb<strong>in</strong>es a cl<strong>in</strong>ical role support<strong>in</strong>g<br />
women with gynaecological cancer with runn<strong>in</strong>g a <strong>research</strong> programme<br />
<strong>in</strong> symptom management, recovery after treatment and risk reduction<br />
for survivors.
K<strong>in</strong>gdom<br />
Keywords gynaecology, art therapy,<br />
nurs<strong>in</strong>g, curat<strong>in</strong>g<br />
Bastian Lange<br />
Leibniz-Institute for Regional<br />
Geography, Schongauerstrasse 9,<br />
Leipzig, D-04329, Germany<br />
Keywords creative <strong>in</strong>dustries,<br />
knowledge <strong>in</strong>dustries, milieu- and<br />
scene <strong>research</strong>, entrepreneurship,<br />
theories of spaces, governance<br />
Anna Laskari<br />
National Technical University of<br />
Athens, School of Architecture,<br />
Averof 15, Athens, 104 33, Greece<br />
Keywords flock behaviour,<br />
participatory environment, database<br />
c<strong>in</strong>ema, emergence, non-l<strong>in</strong>ear<br />
narrative<br />
Iro Laskari<br />
Hellenic Open University,<br />
› Evaluat<strong>in</strong>g the therapeutic effects of museum object handl<strong>in</strong>g with hospital<br />
patients: A review and <strong>in</strong>itial trial of well-be<strong>in</strong>g measures, Journal of Applied<br />
<strong>Arts</strong> & Health, 2.1, 37-56.<br />
S<strong>in</strong>ce 2006 Bastian Lange (Dr. Phil.), Dipl.-Geograph has been Post-<br />
Doc Researcher and Project manager at the Leibniz-Institute for<br />
Regional Geography <strong>in</strong> Leipzig. Current Projects <strong>in</strong>clude EU-Projecte<br />
ACRE 2006-2010 (Accommodat<strong>in</strong>g Creative Knowledge –<br />
Competitiveness of European Metropolitan Regions with<strong>in</strong> the<br />
Enlarged Union) as well as Project manager for Conduct<strong>in</strong>g the 1.<br />
Report on Creative Industries for the State of Saxony. He is Research<br />
Associate at the Georg-Simmel-Center for Metropolitan Research at<br />
the Humboldt University Berl<strong>in</strong> and Head of the <strong>research</strong> group<br />
'Governance of Creative Industries'. His fields of <strong>research</strong> cover<br />
creative and knowledge <strong>in</strong>dustries, milieu- and scene <strong>research</strong>,<br />
entrepreneurship and theories of spaces and governance.<br />
› Access<strong>in</strong>g markets <strong>in</strong> creative <strong>in</strong>dustries – professionalization and socialspatial<br />
strategies of culturepreneurs <strong>in</strong> Berl<strong>in</strong>, Creative Industries Journal,<br />
1.2, 115-135.<br />
Anna Laskari, architect, is a graduate (2004) of the School of<br />
Architecture of the National Technical University of Athens (NTUA).<br />
Laskari also holds a postgraduate degree (Dist<strong>in</strong>ction 2006) from the<br />
NTUA postgraduate programme ‘Architecture Space Design’ and an<br />
M.Sc. (Dist<strong>in</strong>ction 2007) <strong>in</strong> ‘Adaptive Architecture and Computation’<br />
from the Bartlett School of Graduate Studies, University College<br />
London. She has lectured as a Teach<strong>in</strong>g Assistant at NTUA and has<br />
worked as a Design Systems Analyst for Foster and Partners. Currently<br />
she works with paan architects, based <strong>in</strong> Athens.<br />
› Live puzzle: kaleidoscopic narratives through spatio-temporal montage,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2, 199-206.<br />
Iro Laskari is an Artist and Graphic designer. S<strong>in</strong>ce 2006, she has been<br />
teach<strong>in</strong>g at the School of Applied <strong>Arts</strong> of the Greek Open University.<br />
She is a graduate of the Department of Graphic Design of the
Department of Graphic Design of the<br />
Technological Educational Institute,<br />
Lemesou 32, Papagou, 156 69,<br />
Greece<br />
Keywords flock behaviour,<br />
participatory environment, database<br />
c<strong>in</strong>ema, emergence, non-l<strong>in</strong>ear<br />
narrative<br />
Ethan W. Lasser<br />
Keywords<br />
Barbara Lasserre<br />
University of Technology, Sydney,<br />
ELSSA Centre, P.O. Box 123<br />
Broadway, Sydney, NSW 2007,<br />
Australia<br />
Keywords design education, design,<br />
analogy, cognitive metaphor,<br />
discourse<br />
Riikka Latva-Somppi<br />
Aalto University School of Art and<br />
Design, Glass studio, Hämeentie 135<br />
C, PO Box 31000, Hels<strong>in</strong>ki, FIN-<br />
00076, F<strong>in</strong>land<br />
Keywords visual art, glass, history<br />
Technological Educational Institute (T.E.I.) of Athens (2000). Laskari<br />
was awarded a Maîtrise (2001) and a Diplôme d’Etudes Approfondies<br />
(DEA) (2002) from Université Paris 8, as well as the Post-Diplôme of<br />
Ecole Nationale Supérieure des <strong>Arts</strong> Décoratifs, <strong>in</strong> Paris (2002), on the<br />
subject of Interactive Research. She has a Ph.D. <strong>in</strong> ‘Generative<br />
Audiovisual Narratives’ from the Department of Communication and<br />
Media Studies of the University of Athens (2008).<br />
› Live puzzle: kaleidoscopic narratives through spatio-temporal montage,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2, 199-206.<br />
› BOOK REVIEWS, Journal of Curatorial Studies, 1.1, 121-130.<br />
Barbara Lasserre is an applied l<strong>in</strong>guist <strong>who</strong> is a lecturer <strong>in</strong> academic<br />
language and learn<strong>in</strong>g at the University of Technology Sydney. Over<br />
the past thirteen years she has worked extensively with Design and<br />
Architecture students and she has a longstand<strong>in</strong>g <strong>research</strong> <strong>in</strong>terest <strong>in</strong><br />
the use of metaphor <strong>in</strong> these discipl<strong>in</strong>es, as vehicles for convey<strong>in</strong>g not<br />
only attitude and physical characteristics, but also the beliefs and<br />
values held by the educators.<br />
› Theory and practice: reconcil<strong>in</strong>g design-as analogies with real talk <strong>in</strong> design<br />
education, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.1, 17-29.<br />
Riikka Latva-Somppi is a visual and glass artist (MA). She works at<br />
the <strong>in</strong>tersection of f<strong>in</strong>e art and craft and has exhibited widely nationally<br />
and <strong>in</strong>ternationally. Her public work Satakieli/Night<strong>in</strong>gale was<br />
awarded The Certificate of Environmental Art 2009 by The Foundation<br />
of Environmental Art (F<strong>in</strong>land). She has worked as a part-time lecturer<br />
as well as <strong>in</strong> various positions of trust and evaluation at Aalto<br />
University, School of Art and Design, Hels<strong>in</strong>ki, for the past fifteen<br />
years. She is the chairwoman of Artists-O and a board member of The<br />
Society for New Craft (F<strong>in</strong>land). www.latvasomppi.com
K. W. Lau<br />
The Hong Kong Polytechnic<br />
University, Institute of Textiles &<br />
Cloth<strong>in</strong>g, Hung Hom, Kowloon,<br />
Hong Kong, Hong Kong<br />
Keywords creativity, design<br />
education, creative-th<strong>in</strong>k<strong>in</strong>g<br />
techniques, creative pedagogy<br />
Adam Lauder<br />
York University, Research <strong>in</strong> e-<br />
Librarianship, 4700 Keele Street,<br />
Toronto, Ontario, MJ3-1P3, Canada<br />
Keywords modern art, new media,<br />
curat<strong>in</strong>g, Canada<br />
Rosanna Law<br />
AECOM<br />
Keywords<br />
› Craft<strong>in</strong>g narratives: Us<strong>in</strong>g historical context as a refl ective tool, Craft<br />
Research, 2.1, 37-60.<br />
Dr. Kung Wong Lau (Robert) is a visit<strong>in</strong>g assistant professor at the<br />
Institute of Textiles and Cloth<strong>in</strong>g, The Hong Kong Polytechnic<br />
University. He is <strong>in</strong>terested <strong>in</strong> creativity tra<strong>in</strong><strong>in</strong>g, design th<strong>in</strong>k<strong>in</strong>g and<br />
environmental stimulation <strong>in</strong> creativity. He pays particular attention on<br />
the relationships between shard virtual reality and creativity tra<strong>in</strong><strong>in</strong>g<br />
for higher design education.<br />
› Reth<strong>in</strong>k<strong>in</strong>g the creativity tra<strong>in</strong><strong>in</strong>g <strong>in</strong> design education: a study of<br />
creativeth<strong>in</strong>k<strong>in</strong>g tools for facilitat<strong>in</strong>g creativity development of design<br />
students, Art, Design & Communication <strong>in</strong> Higher Education, 8.1, 71-84.<br />
Adam Lauder is W.P. Scott Chair for Research <strong>in</strong> e-Librarianship at<br />
York University <strong>in</strong> Toronto, where he is develop<strong>in</strong>g an electronic<br />
catalogue raisonné of the work of Ia<strong>in</strong> Baxter. Lauder is also the author<br />
of a chapter on the N.E. Th<strong>in</strong>g Co. <strong>in</strong> Byproduct: On the Excess of<br />
Embedded Art Practices as well as an article on Ia<strong>in</strong> Baxter <strong>in</strong> the 2010<br />
volume of the Canadian Journalof Art History. He is curator of an<br />
exhibition devoted to Canadian modernist and advertis<strong>in</strong>g executive<br />
Bertram Brooker (1888–1955), It’s Alive! Bertram Brooker and<br />
Vitalism as well as the author of a chapter on Brooker <strong>in</strong> The Logic of<br />
Nature, The Romance of Space. His <strong>in</strong>terview with Montreal curator<br />
V<strong>in</strong>cent Bon<strong>in</strong> appears <strong>in</strong> the December 2010 issue of magaz<strong>in</strong>e.<br />
Lauder is also a regular contributor to theHunter and Cook<br />
› Circumvention anxieties: Contemporary economies of dis/belief, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 8.3, 283-297.<br />
Rosanna Law is a Director/Senior Associate of urban design at<br />
AECOM Design + Plann<strong>in</strong>g, London. An architect-urbanist by<br />
tra<strong>in</strong><strong>in</strong>g, Rosanna Law sees the craft<strong>in</strong>g of places and spatial plann<strong>in</strong>g<br />
as an <strong>in</strong>tegral part of social policies. Her design leadership for the<br />
Msheireb Heart of Doha Masterplan has set a new benchmark for urban<br />
plann<strong>in</strong>g <strong>in</strong> the region. Global urban issues such as climate change,<br />
cultural diversity and rapid urbanization are consciously addressed
Samantha Lawrie<br />
Auburn University, Department of<br />
Art, 108 Bigg<strong>in</strong> Hall, Alabama, AL<br />
36849, United States of America<br />
Keywords education, historygraphic<br />
design, embodiment, mean<strong>in</strong>g,<br />
language<br />
Mark Leahy<br />
University College Falmouth,<br />
Performance, 28 Christ<strong>in</strong>a Park,<br />
Totnes, Devon, tq9 5ur, United<br />
K<strong>in</strong>gdom<br />
Keywords read<strong>in</strong>g, artist's book,<br />
glossary, performance, book arts<br />
through her masterplann<strong>in</strong>g strategies <strong>in</strong> the United K<strong>in</strong>gdom, Russia<br />
and the Middle East.<br />
› Msheireb Heart of Doha: An Alternative Approach to Urbanism <strong>in</strong> the Gulf<br />
Region, International Journal of Islamic Architecture, 1.1, 131-147.<br />
Samantha Lawrie is Assistant Professor of Graphic Design <strong>in</strong> the<br />
Department of Art at Auburn University where she teaches courses <strong>in</strong><br />
typography, photography, publication design and large-format design<br />
for undergraduate graphic design majors. She is an award-w<strong>in</strong>n<strong>in</strong>g<br />
photographer, <strong>in</strong>stallation artist and designer. Her work has been<br />
featured <strong>in</strong> numerous regional, national, and <strong>in</strong>ternational exhibitions,<br />
<strong>in</strong>clud<strong>in</strong>g the Texas National and the Center Awards at the Center for<br />
Photographic <strong>Arts</strong>.<br />
› We have a lot to talk about: dialogue journals <strong>in</strong> graphic design education,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 3.2, 81-88.<br />
› Graphic design: can it be someth<strong>in</strong>g more? Report on <strong>research</strong> <strong>in</strong> progress,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 6.3, 201-207.<br />
Mark Leahy is a writer, artist and curator. He operates between textual<br />
practice, performance and visual arts. Recent publications <strong>in</strong>clude<br />
critical essays on a bookwork by performance company These Horses,<br />
an essay on the audience as readers of digital text <strong>in</strong>stallations, and an<br />
essay on the relation to the visual arts <strong>in</strong> the work of poet John James.<br />
He has written texts to accompany <strong>in</strong>stalled and performance works by<br />
Katy Connor, Teresa Grimaldi, and his curated projects <strong>in</strong>clude the<br />
exhibition Public Pages for the conference Poetry and Public<br />
Language at University of Plymouth (2007). His poetry sequence<br />
'Swatches' was published by Acts of Language (December 2009), and<br />
<strong>in</strong>dividual text pieces have appeared <strong>in</strong> magaz<strong>in</strong>es and journals. He has<br />
presented live works <strong>in</strong> Live Art Falmouth (June 2008) and<br />
Performance Market (Plymouth, January 2010).<br />
› Gloss<strong>in</strong>g Speakers, or bookmak<strong>in</strong>g for amateurs, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 2.1, 55-67.
Lucia Leão<br />
Sao Paulo Catholic University<br />
(PUCSP), Brazil, Communication and<br />
Semiotics, R. Dr José Rodrigues<br />
Alves Sobr<strong>in</strong>ho 150 ap 21 Monet, Sao<br />
Paulo, 05466-040, Brazil<br />
Keywords<br />
David Leaver<br />
Bus<strong>in</strong>ess School, Division of<br />
Market<strong>in</strong>g and Retail, Aytoun Street,<br />
Manchester, M1 3GH, United<br />
K<strong>in</strong>gdom<br />
Keywords postmodernism, consumer<br />
behaviour, tribal market<strong>in</strong>g, heritage<br />
market<strong>in</strong>g, music dest<strong>in</strong>ation<br />
market<strong>in</strong>g<br />
Mark Leckey<br />
United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>stallation, Anglo-<br />
American subculture, pop culture<br />
Lucia Leao is Professor of Communication and Semiotics at the Sao<br />
Paulo Catholic University (PUCSP), Brazil, where she carries out<br />
<strong>research</strong> <strong>in</strong> Creative Processes, Aesthetics, Media <strong>Arts</strong>, Film Studies,<br />
Cultural and Media Studies, Perform<strong>in</strong>g <strong>Arts</strong> and Visual <strong>Arts</strong>. She has<br />
a Ph.D. <strong>in</strong> Communication and Semiotics: Information Technology and<br />
a Ph.D. <strong>in</strong> <strong>Arts</strong>. Leão is author, among others, of The labyr<strong>in</strong>th of<br />
hypermedia: architecture and navigation on cyberspace (1999), The<br />
labyr<strong>in</strong>th aesthetics (2002), Interlab: labyr<strong>in</strong>ths of contemporary<br />
thought (2002) Derivas: cartografias do ciberespaço (2004) and O<br />
chip e o caleidoscópio: reflexões sobre as novas mídias (2005).<br />
David Leaver is a Senior Lecturer <strong>in</strong> Market<strong>in</strong>g and Retail<strong>in</strong>g at the<br />
Manchester Metropolitan University Bus<strong>in</strong>ess School, where he<br />
teaches Brand Management. His professional background has <strong>in</strong>volved<br />
several years of work<strong>in</strong>g <strong>in</strong> both the private and public sectors <strong>in</strong> North<br />
America, Africa andthe Middle East. He has published on a variety of<br />
topics <strong>in</strong> a range of journals, as well as contribut<strong>in</strong>g to edited books.<br />
› Together Through Life an exploration of popular music heritage and the<br />
quest for re-enchantment, Creative Industries Journal, 3.2, 107-124.<br />
Mark Leckey is an artist <strong>who</strong> works <strong>in</strong> a wide range of media and<br />
across an array of platforms. He has made a number of sem<strong>in</strong>al works<br />
that traverse the rich terra<strong>in</strong> of Anglo-American subculture us<strong>in</strong>g mashups<br />
of found film and video footage, sound systems, sculpture, Felix<br />
the Cat and comic among other curios. He has also been a member of a<br />
number of bands <strong>in</strong>clud<strong>in</strong>g donAtteller and Jack too Jack. He won the<br />
Turner Prize <strong>in</strong> 2008 hav<strong>in</strong>g been nom<strong>in</strong>ated for his<br />
lecture/sculpture/film/performance Industrial Light and Magic (2008).<br />
Leckey was Professor of Film at the Städelschule, Frankfurt-am-Ma<strong>in</strong>,<br />
Germany until recently.<br />
› Tell tail tales: Mark Leckey and Edward Hollis <strong>in</strong> conversation, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 279-291.
Jungwon Lee<br />
Florida State University<br />
Keywords museum experience,<br />
museum learn<strong>in</strong>g, visitor experience,<br />
museum environment, Japanese<br />
collection<br />
P. Y. Lee<br />
United K<strong>in</strong>gdom<br />
Keywords creativity, design<br />
education, creative-th<strong>in</strong>k<strong>in</strong>g<br />
techniques, creative pedagogy<br />
Nicolette Lee<br />
United K<strong>in</strong>gdom<br />
Keywords graphic design practice,<br />
design process, design activities,<br />
activity theory<br />
Dr. Jungwon Lee holds an MA <strong>in</strong> Art History and an MA <strong>in</strong> History<br />
and was awarded Ph.D. degree <strong>in</strong> Art Education at the Florida State<br />
University. She has conducted <strong>research</strong> on various aspects of art, art<br />
museum education <strong>in</strong>clud<strong>in</strong>g constructivism at art museums and<br />
engagement of community members through <strong>in</strong>teractive museum<br />
exhibitions.<br />
› The museum experience <strong>in</strong> the environment of the Japanese collection at the<br />
Metropolitan Museum of Art, International Journal of Education through<br />
Art, 6.3, 343-359.<br />
P. Y. Lee (V<strong>in</strong>cie) is currently pursu<strong>in</strong>g her Ph.D. at the University of<br />
Ed<strong>in</strong>burgh. She obta<strong>in</strong>ed her MSc and BA (Hons) from the Hong Kong<br />
Polytechnic University. She is Lecturer <strong>in</strong> the Hong Kong Community<br />
College, Hong Kong Polytechnic University and she has been<br />
appo<strong>in</strong>ted as the Programme Leader of the Associate Degree<br />
(Advertis<strong>in</strong>g Design) programme. V<strong>in</strong>cie has ga<strong>in</strong>ed substantial<br />
experience <strong>in</strong> programme management and she played an active role <strong>in</strong><br />
curriculum plann<strong>in</strong>g and programme development for local and<br />
overseas universities. V<strong>in</strong>cie also possesses solid <strong>in</strong>dustrial experience<br />
<strong>in</strong> design and advertis<strong>in</strong>g. She has over ten years of work<strong>in</strong>g experience<br />
<strong>in</strong> major mult<strong>in</strong>ational 4As advertis<strong>in</strong>g agencies. She has obta<strong>in</strong>ed<br />
many local and regional awards based on her excellent performances <strong>in</strong><br />
the advertis<strong>in</strong>g <strong>in</strong>dustry. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude creativity and<br />
th<strong>in</strong>k<strong>in</strong>g methods, advertis<strong>in</strong>g creative management and new media<br />
advertis<strong>in</strong>g effects.<br />
› Reth<strong>in</strong>k<strong>in</strong>g the creativity tra<strong>in</strong><strong>in</strong>g <strong>in</strong> design education: a study of<br />
creativeth<strong>in</strong>k<strong>in</strong>g tools for facilitat<strong>in</strong>g creativity development of design<br />
students, Art, Design & Communication <strong>in</strong> Higher Education, 8.1, 71-84.<br />
Nicolette Lee is the Academic Coord<strong>in</strong>ator (Experiential Learn<strong>in</strong>g) at<br />
Sw<strong>in</strong>burne University of Technology, and a Lecturer at the Faculty of<br />
Design. A major part of this role is management of the ‘F<strong>in</strong>al Year<br />
Experience Project’, and work<strong>in</strong>g with the faculties to implement major<br />
project units for all undergraduate students. This position is a<br />
secondment from her academic position with<strong>in</strong> the Faculty of Design.<br />
Her background is <strong>in</strong> design management, and <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude practice-based design education, project-based practice and<br />
learn<strong>in</strong>g spaces. Over the past decade, she has taught and moderated<br />
extensively <strong>in</strong> the visual arts <strong>in</strong> Australia and the United K<strong>in</strong>gdom. Her<br />
<strong>research</strong> centres on project methods <strong>in</strong> higher education contexts.
Jason Lee<br />
University of Derby, Head of Film<br />
and Media Studies with Creative and<br />
Professional Writ<strong>in</strong>g, Kedleston<br />
Road, Derby, DE22 1GB, United<br />
K<strong>in</strong>gdom<br />
Keywords transferable skills, film,<br />
film <strong>in</strong>dustry, production manager,<br />
employability<br />
Hye-Kyung Lee<br />
K<strong>in</strong>g’s College London, Culture,<br />
Media & Creative Industries (CMCI),<br />
School of <strong>Arts</strong> & Humanities, Strand,<br />
London, WC2R 2LS, United<br />
K<strong>in</strong>gdom<br />
Keywords animation, creative<br />
<strong>in</strong>dustry, anime, fandom<br />
Pascal Lefevre<br />
Vital Decosterstraat 66 A bus 4, 3000,<br />
Leuven, Belgium<br />
Keywords pr<strong>in</strong>t culture, artists’<br />
books, picture books, novelty books,<br />
marked typography<br />
› Graphic designers' activities dur<strong>in</strong>g the conceptual design phase of client<strong>in</strong>itiated<br />
projects Report of <strong>research</strong> <strong>in</strong> progress, reflection on the <strong>research</strong><br />
process, Art, Design & Communication <strong>in</strong> Higher Education, 8.1, 85-92.<br />
Dr. Jason Lee is Reader and Head of Film and Media with Professional<br />
and Creative Writ<strong>in</strong>g at the University of Derby. His <strong>research</strong> <strong>in</strong>tersts<br />
<strong>in</strong>clude transdiscipl<strong>in</strong>arity (social sciences, humanities, and creative<br />
arts), especially creative media, transgression, cultural theory and he is<br />
editor of the <strong>in</strong>ternational journal and book series Transgressive<br />
Culture (Gylphi). He is currently work<strong>in</strong>g on a book on culture and<br />
addiction, with Cambria and a book on screenwrit<strong>in</strong>g with Cont<strong>in</strong>uum,<br />
New York, he Psychology of Screenwrit<strong>in</strong>g.<br />
› Anyth<strong>in</strong>g to declare? Desire and employability <strong>in</strong> the film <strong>in</strong>dustry: film<br />
production coord<strong>in</strong>ator Judy Britten talks to Jason Lee, Creative Industries<br />
Journal, 2.3, 291-296.<br />
Hye-Kyung jo<strong>in</strong>ed K<strong>in</strong>g’s <strong>in</strong> September 2004 after obta<strong>in</strong><strong>in</strong>g a Ph.D.<br />
from the University of Warwick. She studied Ch<strong>in</strong>ese language and<br />
literature at Seoul National University, South Korea, and afterwards<br />
worked at the Korea Foundation’s <strong>in</strong>ternational cultural exchange<br />
department where she organised various exhibitions, performances and<br />
festivals <strong>in</strong> Korea and overseas.<br />
› Cultural consumer and copyright: A case study of anime fansubb<strong>in</strong>g,<br />
Creative Industries Journal, 3.3, 237-252.<br />
› Introduction: Animation <strong>in</strong>dustry at a crossroads, Creative Industries<br />
Journal, 3.3, 183-187.<br />
Pascal Lefèvre first studied social sciences and American studies at the<br />
university of Leuven (K. U.Leuven). While work<strong>in</strong>g as a <strong>research</strong>er at<br />
the Belgian national broadcast<strong>in</strong>g corporation (BRTN), he started<br />
publish<strong>in</strong>g and organiz<strong>in</strong>g conferences. From 1996 till 1999 he was<br />
attached (part time) as a scientific advisor to the Belgian Centre of<br />
Comic Strip Art <strong>in</strong> Brussels. S<strong>in</strong>ce 1998 he has been lectur<strong>in</strong>g on<br />
comics and visual media at various Flemish university colleges of art<br />
(<strong>in</strong> Antwerp, Brussels and Genk). In October 2003 he completed his
Phil Legard<br />
Leeds Metropolitan University, UK,<br />
Innovation North: Faculty of <strong>Arts</strong>,<br />
Environment and Technology, Room<br />
108, Priestley Hall, Head<strong>in</strong>gley<br />
Campus, Beckett Park, Leeds, LS6<br />
3QS, United K<strong>in</strong>gdom<br />
Keywords temporality, materiality,<br />
web-based artefacts, open source<br />
software, Active Notation<br />
José María Mesías Lema<br />
University of Coruña, Faculty of<br />
Education, Campus Elviña, A Coruña,<br />
15071, Spa<strong>in</strong><br />
Keywords art, education,<br />
photography<br />
John A. Lent<br />
Temple University Philidelphia,<br />
School of Communication and<br />
Theatre, Philidelphia, Pennsylvania,<br />
Ph.D. <strong>in</strong> social sciences (Communications) at the university of Leuven.<br />
S<strong>in</strong>ce 2008 he has been an affiliated <strong>research</strong>er at the University of<br />
Leuven. He has published widely <strong>in</strong> academic journals and books, for a<br />
list of his publications (<strong>in</strong> eight languages) see his webpage:<br />
http://sites.google.com/site/lefevrepascal/. Currently he is <strong>research</strong><strong>in</strong>g<br />
(early) visual narratives and cross media.<br />
› Intertw<strong>in</strong><strong>in</strong>g verbal and visual elements <strong>in</strong> pr<strong>in</strong>ted narratives for adults,<br />
Studies <strong>in</strong> Comics, 1.1, 35-52.<br />
Phil Legard is a part-time lecturer at Leeds Metropolitan University’s<br />
Innovation North Faculty of Information and Technology and works<br />
across a broad spectrum of creative technologies: <strong>in</strong> particular with<br />
music and graphics that explore an imag<strong>in</strong>ative response to natural<br />
environments. As a programmer and developer he has worked closely<br />
with Nigel Morgan on his series of active notation scores, as well as<br />
assist<strong>in</strong>g the composer <strong>in</strong> establish<strong>in</strong>g a comprehensive digital archive<br />
of his work.<br />
› Music and textiles <strong>in</strong>teract, Craft Research, 1.1, 39-61.<br />
José María Mesías Lema is professor of <strong>Arts</strong> Education <strong>in</strong> the Faculty<br />
of Education at the University of Coruña, Spa<strong>in</strong> and is a Ph.D.<br />
candidate <strong>in</strong> Visual <strong>Arts</strong> and Education (University of Granada). His<br />
<strong>research</strong> is focused on the educational photoactivism, as a methodology<br />
of art-based educational <strong>research</strong>, which explores the activist and<br />
transform<strong>in</strong>g potential of contemporary narrative photography <strong>in</strong> the<br />
professional tra<strong>in</strong><strong>in</strong>g and development of teachers.<br />
› Questions before words An Educational Space, a Stimulat<strong>in</strong>g Space,<br />
International Journal of Education through Art, 7.1, 7-26.<br />
John A. Lent has been teach<strong>in</strong>g at the college/university level s<strong>in</strong>ce<br />
1960, <strong>in</strong>clud<strong>in</strong>g st<strong>in</strong>ts as the organizer of the first journalism courses at<br />
De La Salle College <strong>in</strong> Manila; founder and coord<strong>in</strong>ator of Universiti<br />
Sa<strong>in</strong>s Malaysia communications program; Rogers Dist<strong>in</strong>guished Chair<br />
at University of Western Ontario; visit<strong>in</strong>g professor at Shanghai
United States of America<br />
Keywords pioneers, comics, Europe,<br />
Ch<strong>in</strong>a<br />
Elisa Lessa<br />
Universidad de M<strong>in</strong>ho, Portugal<br />
Keywords Bigheads, arts education,<br />
culture, <strong>in</strong>terdiscipl<strong>in</strong>ary, Portuguese<br />
patrimony<br />
Ellen K. Levy<br />
Visit<strong>in</strong>g Scholar NYU, United<br />
K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>attention bl<strong>in</strong>dness,<br />
bottom-up, top-down, distractor,<br />
three-card Monte<br />
University, Communication University of Ch<strong>in</strong>a, Jil<strong>in</strong> College of the<br />
<strong>Arts</strong> Animation School, and Universiti Kebangsaan Malaysia. Prof.<br />
Lent pioneered <strong>in</strong> the study of mass communication and popular<br />
culture <strong>in</strong> Asia (s<strong>in</strong>ce 1964) and Caribbean (s<strong>in</strong>ce 1968), comic art and<br />
animation, and development communication.<br />
› The w<strong>in</strong>d<strong>in</strong>g, pot-holed road of comic art scholarship, Studies <strong>in</strong> Comics, 1.1,<br />
7-33.<br />
Elisa Lessa is Associate Professor of Music History, as well as Chair of<br />
the Music Department at Universidade do M<strong>in</strong>ho. Prior academic<br />
offices held at Universidade do M<strong>in</strong>ho <strong>in</strong>clude Curso de Estudos<br />
Superiores Especializados em Educação Musical (Chair, 1999–2000);<br />
Departamento Expressões Artísticas e Educação Física (Chair, 2000–<br />
2004); Mestrado em Estudos da Criança – Especialização de Educação<br />
Musical (Chair, from 2003); and Centro de Investigação em Estudos da<br />
Criança – CESC-UM (Chair of Artistic Studies). She was appo<strong>in</strong>ted<br />
Head of the Associação Portuguesa de Educação Musical – APEM<br />
(2004–2007), and is a member of ADISPOR – Portuguese M<strong>in</strong>istry of<br />
Education (2005). Her current <strong>research</strong>, publication and <strong>research</strong><br />
supervision <strong>in</strong>terests are historical musicology, especially Portuguese<br />
religious music and music pedagogy.<br />
› Male & Female BIGHEADS: Different ways of look<strong>in</strong>g, International<br />
Journal of Education through Art, 4.3, 285-296.<br />
Ellen K. Levy, a New York-based artist and teacher, is past president<br />
of the College Art Association (2004–2006). Levy has exhibited her<br />
work widely, <strong>in</strong> the United States, Europe, and Israel <strong>in</strong> galleries,<br />
alternative spaces, and art museums, as well as museums of science<br />
and technology (e.g., the New York Academy of Sciences and National<br />
Academy of Sciences). In 1985 Levy received an art commission from<br />
NASA. She is recipient of an AICA award (1995–1996) and was a<br />
Dist<strong>in</strong>guished Visit<strong>in</strong>g Fellow of <strong>Arts</strong> and Science at Skidmore College<br />
<strong>in</strong> 1999, a position funded by the Luce Foundation. Her artwork was<br />
<strong>in</strong>cluded <strong>in</strong> Petroliana at the 2nd Moscow Biennale (2007), Weather<br />
Report: Art & Climate Change at the Boulder Museum of<br />
Contemporary Art (cur, L. Lippard), and Gregor Mendel: Plant<strong>in</strong>g the<br />
Seeds of Genetics at the Field Museum, Chicago (adv. M. Kemp).<br />
› Design<strong>in</strong>g the art of attention, Technoetic <strong>Arts</strong>: A Journal of Speculative
A. David Lewis<br />
Keywords narrative polyphony,<br />
narratology, J. Espen Aarseth, Alan<br />
Moore, Chris Ware<br />
Bex Lewis<br />
University of W<strong>in</strong>chester, Learn<strong>in</strong>g &<br />
Teach<strong>in</strong>g Development Unit, MB116,<br />
Sparkford Road, W<strong>in</strong>chester, SO22<br />
4NR, United K<strong>in</strong>gdom<br />
Keywords history, education, media<br />
studies, digital media, World War II,<br />
propoganda<br />
Lei-Lei Li<br />
College of Mass Communication,<br />
Center of Media and Social Change,<br />
Nanshan District, Guangdong<br />
Prov<strong>in</strong>ce, Shenzhen, Ch<strong>in</strong>a<br />
Keywords animation, Ch<strong>in</strong>a, creative<br />
<strong>in</strong>dustry, geography<br />
Research, 8.1, 93-99.<br />
A. David Lewis is a Boston educator earn<strong>in</strong>g degrees from Brandeis<br />
University, Georgetown University, and Boston University. In his<br />
academic capacity, he lectures nationally on comics studies, serves as<br />
an editorial board member for the International Journal of Comic Art,<br />
founded the Religion and Graphica Collection at Boston University,<br />
and co-edited Graven Images: Religion <strong>in</strong> Comic Books and Graphic<br />
Novels for Cont<strong>in</strong>uum International Publish<strong>in</strong>g. Lewis also selfpublished<br />
the awardw<strong>in</strong>n<strong>in</strong>g Mortal Coils series, and The Lone and<br />
Level Sands and Some New K<strong>in</strong>d of Slaughter graphic novels, the latter<br />
both produced by Archaia.<br />
› The shape of comic book read<strong>in</strong>g, Studies <strong>in</strong> Comics, 1.1, 71-81.<br />
Bex Lewis ga<strong>in</strong>ed her first degree <strong>in</strong> History and Education Studies at<br />
K<strong>in</strong>g Alfred’s College. She was awarded her Ph.D., entitled ‘The<br />
plann<strong>in</strong>g, design and reception of British Home Front propaganda<br />
posters of the Second World War’, <strong>in</strong> 2004. Bex Lewis has wide<br />
rang<strong>in</strong>g <strong>in</strong>terests and expertise, hav<strong>in</strong>g taught <strong>in</strong> the subject areas of<br />
History, Media Studies, Design for Digital Media, and is the University<br />
of W<strong>in</strong>chester’s Blended Learn<strong>in</strong>g Fellow. Dr. Bex Lewis is the lead<strong>in</strong>g<br />
expert on Second World War propaganda posters.<br />
› The M<strong>in</strong>istry of FoodThe Imperial War Museum,12 February 2010–3<br />
January 2011, The Poster, 1.2, 215-224.<br />
Lei-lei Li is a professor at College of Mass Communication and Center<br />
of Media and Social Change at Shenzhen University. She has published<br />
a variety of articles on cultural and creative <strong>in</strong>dustries <strong>in</strong> Ch<strong>in</strong>a. Most<br />
of these articles are written <strong>in</strong> Ch<strong>in</strong>ese, <strong>in</strong>clud<strong>in</strong>g some literature<br />
review articles, are ma<strong>in</strong>ly based on her Natural Science Foundation of<br />
Ch<strong>in</strong>a-funded project and Guangdong government-funded project on<br />
creative clusters and cultural economic geography studies.<br />
› Understand<strong>in</strong>g Ch<strong>in</strong>ese animation <strong>in</strong>dustry: The nexus of media, geography
Weitao Li<br />
Keywords<br />
Emanuel Licha<br />
École nationale supérieure<br />
d’architecture de Paris La Villette and<br />
Goldsmiths College, University of<br />
London<br />
Keywords<br />
Sarah Lightman<br />
University of Glasgow, School of the<br />
<strong>Arts</strong>, Glasgow, G12 8QQ, United<br />
K<strong>in</strong>gdom<br />
Keywords art practice, curat<strong>in</strong>g,<br />
comics, animation<br />
and policy, Creative Industries Journal, 3.3, 189-205.<br />
Weitao Li is a designer, <strong>who</strong> has recently graduated from the Bartlett<br />
School of Architecture with merit <strong>in</strong> Master Architectural Design<br />
course. Before he came to London, Weitao is an architect with<br />
Undergraduate Degree of Ch<strong>in</strong>a Central Academy of F<strong>in</strong>e <strong>Arts</strong> and<br />
extensive practical work experience. He is now cont<strong>in</strong>u<strong>in</strong>g enjoy<strong>in</strong>g his<br />
architecture journey <strong>in</strong> London, Ch<strong>in</strong>a and all over the world.<br />
› Project Profiles, Design Ecologies, 1.2, 307-321.<br />
› Mirages: An optical mach<strong>in</strong>e <strong>in</strong> the desert, Philosophy of Photography, 2.1,<br />
33-40.<br />
Sarah Lightman is an artist and curator currently <strong>research</strong><strong>in</strong>g a Ph.D. <strong>in</strong><br />
‘Autobiographical Comics and Graphic Novels’ at The University of<br />
Glasgow. She has written on autobiographical comics and visual<br />
diaries for Studies <strong>in</strong> Comics and The International Journal of Comic<br />
Art. She is cocurat<strong>in</strong>g ‘Graphic Details: Confessional Comics by<br />
Jewish Women’, which opens at The Cartoon Art Museum, San<br />
Francisco <strong>in</strong> October 2010. Sarah also chaired the conference Women<br />
<strong>in</strong> Comics II at Leeds Art Gallery, <strong>in</strong> November 2010.<br />
› Reviews-Diary Draw<strong>in</strong>gs by Bobby Baker, Studies <strong>in</strong> Comics, 1.1, 159-168.<br />
› Gabrielle Bell on Clogg<strong>in</strong>g and why comics make everyth<strong>in</strong>g smooth and<br />
ref<strong>in</strong>ed, Studies <strong>in</strong> Comics, 1.2, 369-378.
Angélica Lima Cruz<br />
M<strong>in</strong>ho University, Instituto de<br />
Estudos da Crianca. Department of<br />
Visual <strong>Arts</strong>, Av. Central 100, Braga,<br />
4710-057, Portugal<br />
Keywords curriculum, gender, life<br />
story, Bigheads, art education<br />
Yvonne L<strong>in</strong>coln<br />
Roehampton University, School of<br />
Education, Roehampton University,<br />
Roehampton Lane, London, SW15<br />
5PU, United K<strong>in</strong>gdom<br />
Keywords education, student services<br />
Tilmann L<strong>in</strong>dberg<br />
Hasso-Plattner-Institut für<br />
Softwaresystemtechnik GmbH,<br />
Design Th<strong>in</strong>k<strong>in</strong>g Research, Prof-Dr-<br />
Helmert-Str. 2–3, Potsdam, 14482,<br />
Germany<br />
Keywords design discourses, metadiscipl<strong>in</strong>e,<br />
creative collaboration,<br />
wicked problems, design cognition<br />
Angélica Lima Cruz is a Lecturer <strong>in</strong> the Department of Visual <strong>Arts</strong>,<br />
Instituto de Estudos da Criança (Children’s Studies Institute), M<strong>in</strong>ho<br />
University, Portugal. She obta<strong>in</strong>ed her Ph.D. from the University of<br />
Surrey, Roehampton (now Roehampton University). She has published<br />
articles <strong>in</strong> several national and <strong>in</strong>ternational journals and has<br />
collaborated on <strong>research</strong> projects study<strong>in</strong>g issues regard<strong>in</strong>g gender and<br />
art. She has taught courses connected to Art Anthropology, Art and<br />
Education, Aesthetic Education <strong>in</strong> Daily Life, Artistic Patrimony and<br />
Cultural Identity, Research Methodology, as well as Art Workshops.<br />
› Visual Essay, International Journal of Education through Art, 1.3, 237-248.<br />
› Male & Female BIGHEADS: Different ways of look<strong>in</strong>g, International<br />
Journal of Education through Art, 4.3, 285-296.<br />
Yvonne L<strong>in</strong>coln is head of the guidance and advisory services for<br />
students at Roehampton University, l<strong>in</strong>e manag<strong>in</strong>g staff responsible for<br />
fund<strong>in</strong>g, mental health and well-be<strong>in</strong>g, Nursery provision, f<strong>in</strong>ancial<br />
advice (Money Doctors) and the Student Welfare Officers, as part of<br />
her role as Deputy Director of Student Services. In the School of<br />
Education she is act<strong>in</strong>g programme convenor for the Foundation<br />
Degree, Support<strong>in</strong>g Learn<strong>in</strong>g and Teach<strong>in</strong>g, and for a portfolio of HE<br />
programmes cover<strong>in</strong>g various aspects of education <strong>in</strong> schools. She has<br />
30 years experience of teach<strong>in</strong>g and management <strong>in</strong> schools. She is<br />
presently writ<strong>in</strong>g her dissertation for her Ed.D. on the student<br />
experience <strong>in</strong> HE.<br />
› Learn<strong>in</strong>g support: Student perceptions and preferences, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 9.2, 135-149.<br />
Tilmann L<strong>in</strong>dberg participates as a Ph.D. student <strong>in</strong> the HPI-Stanford<br />
Design Th<strong>in</strong>k<strong>in</strong>g Research Program and works as a <strong>research</strong> assistant<br />
to the Chair for Organization and Human Resource Management at the<br />
University of Potsdam. He received a degree <strong>in</strong> Bus<strong>in</strong>ess<br />
Adm<strong>in</strong>istration (Dipl.-Kfm.) from the University of Potsdam<br />
(Germany) and a degree <strong>in</strong> Music (MA) from the University of Sussex<br />
(United K<strong>in</strong>gdom). He has been conduct<strong>in</strong>g an empirical <strong>research</strong><br />
project on organizational creativity and design th<strong>in</strong>k<strong>in</strong>g <strong>in</strong> the IT<br />
<strong>in</strong>dustry.<br />
› Evolv<strong>in</strong>g discourses on design th<strong>in</strong>k<strong>in</strong>g: how design cognition <strong>in</strong>spires metadiscipl<strong>in</strong>ary<br />
creative collaboration, Technoetic <strong>Arts</strong>: A Journal of Speculative
Peeter L<strong>in</strong>nap<br />
Tartu Art College<br />
Keywords image theory,<br />
photography, Estonia, social values,<br />
fear<br />
Mara Martnez Lirola<br />
University of Alicante, Department of<br />
English Studies, Ap-99, E-03080<br />
Alicante, Spa<strong>in</strong><br />
Keywords context, Systemic<br />
Functional Grammar (SFG), visual<br />
grammar, multimodal texts<br />
Shu-Y<strong>in</strong>g Liu<br />
Hs<strong>in</strong>chu University of Education, 7F,<br />
20, Sec.1, Nan-Chang Road, Taipei<br />
City, 100, Taiwan<br />
Keywords dance, education,<br />
k<strong>in</strong>dergarten, professional<br />
development, art<br />
Research, 8.1, 31-37.<br />
› mages and fear: Repressed pictures as tools for analys<strong>in</strong>g society,<br />
International Journal of Education through Art, 3.3, 211-229.<br />
› BOOK REVIEWS, International Journal of Education through Art, 8.1, 91-<br />
97.<br />
María Martínez Lirola is Professor of the Department of English at the<br />
University of Alicante, Spa<strong>in</strong>. Her ma<strong>in</strong> areas of <strong>research</strong> are Systemic<br />
Functional L<strong>in</strong>guistics, Second Language Methodology and Critical<br />
Discourse Analysis. She has published more than 40 papers and seven<br />
books. Her more recent publication is Ma<strong>in</strong> Processes of Thematization<br />
and Postponement <strong>in</strong> English (Peter Lang, 2009). She has been a<br />
visit<strong>in</strong>g scholar at the University of Anahuac Mayad (Mérida, Mexico,<br />
2008), at the University of Kwazulu-Natal (Pietermaritzburg, South<br />
Africa, 2006), and at Macquarie University (Sydney, Australia, 2005).<br />
She has presented papers <strong>in</strong> <strong>in</strong>ternational congresses all over the world.<br />
› Positive aspects of women of different cultures: an analysis of two<br />
multimodal covers, The Poster, 1.1, 77-93.<br />
Shu-Y<strong>in</strong>g Liu is an Associate Professor of early-childhood education<br />
and choreographer. She previously danced with Cloud Gate Dance<br />
Theatre, subsequently ga<strong>in</strong><strong>in</strong>g her MFA at UCLA and Ph.D. at<br />
Roehampton University. She teaches <strong>in</strong>ternationally, has written and<br />
translated handbooks, and developed curricula, for early-childhood and<br />
elementary school Taiwanese teachers.<br />
› Visual Essay, International Journal of Education through Art, 1.3, 249-258.
Yang Liu<br />
United States of America<br />
Keywords visualization, myths,<br />
cross-culturalism, <strong>in</strong>terdiscipl<strong>in</strong>arity,<br />
meander art<br />
Julia Lockheart<br />
Goldsmiths, University of London,<br />
Centre for English Language and<br />
Academic Writ<strong>in</strong>g/Design<br />
Department, Lewisham Way, London,<br />
SE14 6NW, United K<strong>in</strong>gdom<br />
Keywords reflective practice,<br />
dyslexia, mature students,<br />
<strong>in</strong>ternational students, learn<strong>in</strong>g styles<br />
S<strong>in</strong>ce 1994 Yang Liu has worked as a professor at universities <strong>in</strong><br />
Dalian and Changchun <strong>in</strong> Ch<strong>in</strong>a, as well as a television anchor. She has<br />
also been <strong>in</strong>volved for many years <strong>in</strong> fashion design, calligraphy,<br />
draw<strong>in</strong>g, pa<strong>in</strong>t<strong>in</strong>g, and art <strong>research</strong>. Presently she is an <strong>in</strong>dependent<br />
artist work<strong>in</strong>g <strong>in</strong> Belmont, Massachusetts <strong>in</strong> the United States. She has<br />
had exhibitions of her pa<strong>in</strong>t<strong>in</strong>gs <strong>in</strong> the United States and Ch<strong>in</strong>a, and her<br />
work has been reported <strong>in</strong> the media. She has also presented her<br />
<strong>research</strong> and artworks at various conferences <strong>in</strong> Germany, Italy, Cuba,<br />
England, and the United States.<br />
› Cross-culturalism <strong>in</strong> pa<strong>in</strong>t<strong>in</strong>g: visualization via meanders, Journal of Visual<br />
Art Practice, 8.3, 205-214.<br />
Julia Lockheart is Senior Lecturer at Goldsmiths, University of<br />
London, Director of the Writ<strong>in</strong>g-PAD project and Co-editor with<br />
Professor John Wood, of the Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice.<br />
Julia has studied both F<strong>in</strong>e Art and TESOL to MA level and is also<br />
qualified to teach adults with SpLDs (Dyslexia). In September 2009<br />
she began her Ph.D. <strong>research</strong> <strong>in</strong> the Design department at Goldsmiths,<br />
University of London, on develop<strong>in</strong>g tools for co-writ<strong>in</strong>g <strong>in</strong> design<br />
teams. She has presented and published both nationally and<br />
<strong>in</strong>ternationally.<br />
› Writ<strong>in</strong>g Purposefully <strong>in</strong> Art and Design (Writ<strong>in</strong>g PAD), Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 89-102.<br />
› Editorial – The ethical purpose of writ<strong>in</strong>g <strong>in</strong> creative practice, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 5-12.<br />
› Editorial, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.2, 113-116.<br />
› Review, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.2, 195-196.<br />
› Editorial, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.3, 201-204.<br />
› Reviews, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 356-358.<br />
› How can we use writ<strong>in</strong>g as a tool for collaboration across discipl<strong>in</strong>es at Ph.D.<br />
level?: Co-writ<strong>in</strong>g fictional versions of the truth about someone else, Journal<br />
of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 299-315.<br />
› Challeng<strong>in</strong>g the Curriculum: Explor<strong>in</strong>g the Discipl<strong>in</strong>e Boundaries <strong>in</strong> Art,<br />
Design and Media, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 193-196.<br />
Yorgos Loizos Yorgos Loizos is a designer and artist. He received his MArch with<br />
Dist<strong>in</strong>ction from the Bartlett School of Architecture, UCL <strong>in</strong> 2009, and<br />
previously studied at École Spéciale d'Architecture, and the Ed<strong>in</strong>burgh
Keywords art, design, photography,<br />
<strong>in</strong>teractivity, art <strong>in</strong>stallations<br />
Yve Lomax<br />
Goldsmiths College, University of<br />
London, Art Department, New Cross,<br />
London, SE14 6NW, United<br />
K<strong>in</strong>gdom<br />
Keywords art, writ<strong>in</strong>g, education<br />
Anne Lord<br />
James Cook University, Visual Art<br />
Visual Media, School of Creative<br />
<strong>Arts</strong>, Douglas, Townsville, Q 4811,<br />
Australia<br />
Keywords visual arts, concept<br />
development, practice-based <strong>research</strong>,<br />
visual storytell<strong>in</strong>g, new media,<br />
pedagogy<br />
Kathar<strong>in</strong>e Low<br />
Central School of Speech and Drama,<br />
College of Art. His work has been shown <strong>in</strong> London, Paris, Ed<strong>in</strong>burgh<br />
and Athens. He has taught as a teach<strong>in</strong>g assistant for Sir Peter Cook at<br />
the École Spéciale d'Architecture and currently he is a visit<strong>in</strong>g critic at<br />
Bartlett and Greenwich University. Based <strong>in</strong> London, he cont<strong>in</strong>ues to<br />
explore contemporary architecture.<br />
› Project profiles, Design Ecologies, 1.1, 153-.<br />
› Olympia: Alchemical designs of spatial decadence, Design Ecologies, 1.2,<br />
203-225.<br />
Yve Lomax is a writer and visual artist. She is author of Writ<strong>in</strong>g the<br />
Image: An Adventure with Art and Theory (2000); Sound<strong>in</strong>g the Event:<br />
Escapades <strong>in</strong> Dialogue with Matters of Art, Nature and Time (2005);<br />
Passionate Be<strong>in</strong>g: Language, S<strong>in</strong>gularity and Perseverance<br />
(forthcom<strong>in</strong>g 2009). She is Professor of Art Writ<strong>in</strong>g <strong>in</strong> the Art<br />
Department, Goldsmiths College and Research Tutor for Photography<br />
and F<strong>in</strong>e Art at the Royal College of Art.<br />
› Besides/In a paradigmatic way, Journal of Visual Art Practice, 7.3, 205-212.<br />
Anne Lord works as a visual arts Lecturer <strong>in</strong> the School of Creative<br />
<strong>Arts</strong> and ma<strong>in</strong>ta<strong>in</strong>s practice as a visual artist. Her Ph.D. and subsequent<br />
work contribute to pedagogy and visual arts as <strong>research</strong>. Lord’s Ph.D.<br />
topic ‘art and ephemera’ <strong>in</strong>volves art that does not have to last and has<br />
significant connections with environmental concerns and a capacity for<br />
<strong>in</strong>dividuals to respond to current issues through concepts and art.<br />
Current <strong>research</strong> and art practice is about l<strong>in</strong>ks across environment and<br />
recent cyclonic impact on trees. The collected pieces from destroyed<br />
trees contribute to images as wood engrav<strong>in</strong>gs.<br />
› Creative visual art storytell<strong>in</strong>g and concept development, Journal of Writ<strong>in</strong>g<br />
<strong>in</strong> Creative Practice, 3.3, 227-256.<br />
Kathar<strong>in</strong>e Low is a practice-based Ph.D. student <strong>in</strong> the Drama<br />
department at the University of Manchester, supervised by James<br />
Thompson and Jenny Hughes. Through her <strong>research</strong> project, ‘our place,
University of London, Eton Avenue,<br />
London, NW3 3HY, United K<strong>in</strong>gdom<br />
Keywords theatre and performance,<br />
applied theatre, sexual health, South<br />
Africa, HIV/AIDS<br />
Virg<strong>in</strong>ia Lowe<br />
Keywords picture books, illustration,<br />
style, case study, young children<br />
Michael J. Lowis<br />
Keywords music, emotion, peak<br />
experiences, spiritual, experiment<br />
our stage’ (OPOS), she is explor<strong>in</strong>g the role of applied theatre <strong>in</strong> sexual<br />
and reproductive health communication <strong>in</strong> the Nyanga township <strong>in</strong><br />
South Africa, focus<strong>in</strong>g <strong>in</strong> particular on concepts of spatiality, risktak<strong>in</strong>g<br />
and resistance.<br />
› Creat<strong>in</strong>g a space for the <strong>in</strong>dividual: Different theatre and performance-based<br />
approaches to sexual health communication <strong>in</strong> South Africa, Journal of<br />
Applied <strong>Arts</strong> & Health, 1.1, 111-126.<br />
Virg<strong>in</strong>ia Lowe has taught people to write/illustrate for children for<br />
fifteen years through her bus<strong>in</strong>ess Create a Kids' Book. She and her<br />
team assess manuscripts, run workshops, e-courses, and mentor. Her<br />
book, Stories, Pictures and Reality: Two Children Tell, about two<br />
children's responses to books from birth, was published by Routledge.<br />
It is based on her Ph.D. thesis, which is based on a read<strong>in</strong>g journal she<br />
kept of her son and daughter, from birth to adolescence. Virg<strong>in</strong>ia has<br />
lectured <strong>in</strong> children's literature and English at university and published<br />
numerous academic articles and book chapters. She has been a<br />
municipal children's librarian and a school librarian, judge for the<br />
Children's Book Council of Australia's Book of the Year Awards, and<br />
convenor of the Crichton Award for first time illustrators.<br />
› 'It's got the same clouds': young children's concepts of illustrator and artistic<br />
style, International Journal of Education through Art, 2.2, 119-138.<br />
Dr. Michael Lowis is a chartered psychologist, and currently Visit<strong>in</strong>g<br />
Fellow, Occupational Sciences, The University of Northampton. His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the psychology of music, the psychology of<br />
humour, and life satisfaction <strong>in</strong> the later years. He is the author of over<br />
70 academic papers and conference presentations, and is called upon by<br />
the media from time to time for specialist op<strong>in</strong>ion. He is also an<br />
amateur musician.<br />
› Emotional responses to music listen<strong>in</strong>g: A review of some previous <strong>research</strong><br />
and an orig<strong>in</strong>al, five-phase study, Journal of Applied <strong>Arts</strong> & Health, 1.1, 81-<br />
92.<br />
› Engagement <strong>in</strong> the arts and well-be<strong>in</strong>g and health <strong>in</strong> later adulthood: An<br />
empirical study, Journal of Applied <strong>Arts</strong> & Health, 2.1, 25-36.
Lilly (Li-Fen) Lu<br />
Northern Ill<strong>in</strong>ois University, Art<br />
Education Program, School of Art,<br />
Northern Ill<strong>in</strong>ois University, IL<br />
60115, United States of America<br />
Keywords digital visual culture,<br />
visualization, Second Life, virtual<br />
learn<strong>in</strong>g environment, 3D virtual<br />
world<br />
Philippa Lyon<br />
University of Brighton, Centre for<br />
Research and Development, Faculty<br />
of <strong>Arts</strong> & Architecture, Grand Parade,<br />
Brighton, BN2 0JY, United K<strong>in</strong>gdom<br />
Keywords design learn<strong>in</strong>g and<br />
teach<strong>in</strong>g, ‘outsider’ <strong>research</strong>, visual<br />
and verbal language<br />
Kieran Lyons<br />
University of Wales, Newport,<br />
Department of F<strong>in</strong>e Art, School of Art<br />
Media and Design, Caerleon Campus,<br />
PO Box 179, South Wales,<br />
NP183YG, United K<strong>in</strong>gdom<br />
Keywords military failure, field<br />
telephones, ‘Jura-Paris road’,<br />
proprioception, French corporals<br />
Lilly Lu is an assistant professor of art education at Northern Ill<strong>in</strong>ois<br />
University. With a background <strong>in</strong> Instructional Technology, her<br />
<strong>research</strong>/specialty areas <strong>in</strong>clude digital visual culture, virtual world<br />
pedagogy, gam<strong>in</strong>g, and <strong>in</strong>tegrat<strong>in</strong>g new media/technology <strong>in</strong>to art<br />
education. She has been work<strong>in</strong>g on the <strong>research</strong> grant ‘Art<br />
Café@Second Life’ awarded by National Art Education Association <strong>in</strong><br />
USA <strong>in</strong> 2008 to develop the virtual pedagogies and <strong>in</strong>vestigate ‘virtual’<br />
visual culture for 21st-century art education.<br />
› Demystify<strong>in</strong>g three-dimensional virtual worlds for art education,<br />
International Journal of Education through Art, 6.3, 279-292.<br />
Philippa Lyon taught a range of literature courses at the universities of<br />
Sussex and Brighton alongside roles <strong>in</strong> university adm<strong>in</strong>istration and<br />
management, before mov<strong>in</strong>g <strong>in</strong>to <strong>research</strong>. Her Ph.D. is a literary and<br />
cultural analysis of Second World War poetry anthologies and she has<br />
published a guide on twentieth-century war poetry criticism. As<br />
Research Fellow <strong>in</strong> the Faculty of <strong>Arts</strong> she co-edited the book<br />
produced to mark the 150th anniversary of the Brighton School of Art.<br />
She is currently complet<strong>in</strong>g a book to encapsulate and analyse the<br />
significance of design learn<strong>in</strong>g and teach<strong>in</strong>g <strong>research</strong> projects funded<br />
by the Centre for Excellence <strong>in</strong> Teach<strong>in</strong>g and Learn<strong>in</strong>g through<br />
Design.<br />
› Writ<strong>in</strong>g about design pedagogy and design<strong>in</strong>g pedagogical writ<strong>in</strong>g, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 8.2, 151-156.<br />
Kieran Lyons’ Ph.D. thesis was awarded <strong>in</strong> August 2007. The <strong>research</strong><br />
topic considered the implications of militarism <strong>in</strong> France on Marcel<br />
Duchamp <strong>in</strong> the ten years between 1905 – 1915. He has delivered<br />
papers and essays on this and related subjects s<strong>in</strong>ce 2000, perhaps most<br />
significantly with the onl<strong>in</strong>e publication <strong>in</strong> ‘Tate Papers’. Recently, a<br />
monograph on his <strong>in</strong>stallation work made <strong>in</strong> New Zealand <strong>in</strong>1976 has<br />
appeared <strong>in</strong> ‘Read<strong>in</strong>g Room’. Between 1976 and 2009 he has worked <strong>in</strong><br />
Brita<strong>in</strong> as a performance and <strong>in</strong>stallation artist and s<strong>in</strong>ce the Ph.D. has<br />
re-engaged with a different practice produc<strong>in</strong>g precise technical<br />
draw<strong>in</strong>gs, <strong>in</strong> digital and mechanical form where the rapidly drawn<br />
cancell<strong>in</strong>g marks made by ticket <strong>in</strong>spectors, on his tra<strong>in</strong>-tickets, are<br />
transferred <strong>in</strong>to outsized statements <strong>in</strong> his studio - these owe their<br />
existence to the <strong>research</strong> towards his Ph.D. and hope to reflect the<br />
<strong>in</strong>fluence of its subject.
Patricia Macdonald<br />
University of Ed<strong>in</strong>burgh, School of<br />
<strong>Arts</strong>, Culture, and Environment, Old<br />
College, South Bridge, Ed<strong>in</strong>burgh,<br />
EH8 9YL, United K<strong>in</strong>gdom<br />
Keywords photography, ways of<br />
see<strong>in</strong>g, modernism, paradigm shift,<br />
world-view<br />
Claire MacDonald<br />
University of the <strong>Arts</strong>, London,<br />
Southampton Row, London, WC1B<br />
4AP, United K<strong>in</strong>gdom<br />
Keywords voice, process, poetry,<br />
performance, pedagogy<br />
Kathy Mackey<br />
Queensland Academies<br />
Keywords visual literacy,<br />
photography, secondary education,<br />
gaze<br />
› Fat and failure: Marcel Duchamp's military imag<strong>in</strong>ation, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 7.1, 31-48.<br />
Patricia Macdonald, BSc Ph.D. FRSE FRSA FSA(Scot) HonFRSGS<br />
HonFICS is a dist<strong>in</strong>guished artist-photographer and environmental<br />
<strong>research</strong>er, writer and <strong>in</strong>terpreter. She is an Honorary Fellow <strong>in</strong> the<br />
School of <strong>Arts</strong>, Culture and Environment, University of Ed<strong>in</strong>burgh.<br />
She is work<strong>in</strong>g at the <strong>in</strong>terface of art and science, employ<strong>in</strong>g aerial<br />
photography <strong>in</strong> collaboration with Professor Angus Macdonald, also of<br />
the University of Ed<strong>in</strong>burgh, and specializ<strong>in</strong>g <strong>in</strong> the exploration of<br />
concepts of viewpo<strong>in</strong>t and ecological/social/cultural <strong>in</strong>terrelationships,<br />
particularly as these are manifest <strong>in</strong> cultural landscape.<br />
› Emergent landscapes, Journal of Visual Art Practice, 4.2, 83-96.<br />
Dr. Claire MacDonald is the Director of the International Centre for<br />
F<strong>in</strong>e Art Research at the University of the <strong>Arts</strong>, London. A founder of<br />
two British visual theatre companies, she writes for performance, has<br />
recently completed a novel, is a found<strong>in</strong>g editor of Performance<br />
Research and a contribut<strong>in</strong>g editor to PAJ, a journal of performance<br />
and art, <strong>in</strong> New York. In 2006 she <strong>in</strong>itiated ‘The Space Between<br />
Words’, a writ<strong>in</strong>g network for performance writ<strong>in</strong>g, and <strong>in</strong> September<br />
2008 she co-curated, with Claire H<strong>in</strong>d, the <strong>in</strong>ternational writ<strong>in</strong>g<br />
symposium ‘Writ<strong>in</strong>g Encounters’ at York St. John University.<br />
› How to do th<strong>in</strong>gs with words: textual typologies and doctoral writ<strong>in</strong>g,<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.1, 91-103.<br />
› Reviews, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.1, 127-128.<br />
Kathy Mackey <strong>in</strong>vestigates practice-led models as to how arts and new<br />
media organisations work <strong>in</strong> collaboration with senior school<strong>in</strong>g<br />
communities to build a culture of creative leadership among its<br />
students. Her workplaces <strong>in</strong>volve selective creative- and science-based<br />
academies <strong>in</strong> Queensland, which offer the International Baccalaureate<br />
curriculum. She explores how the IB Diploma Program is supported<br />
and extended by work<strong>in</strong>g with arts and new media organisations and
Mary Maclean<br />
Keywords Augé, documentation,<br />
photography, process<br />
Katy Macleod<br />
Plymouth University, School of Art<br />
and Media, Drake Circus, Plymouth,<br />
Devon, PL4 8AA, United K<strong>in</strong>gdom<br />
Keywords Ph.D., <strong>research</strong><br />
methodology, Marcel Duchamp,<br />
Pierre Bonnard, art education,<br />
government <strong>in</strong>itiatives. Collaborations such as these allow students and<br />
staff to create new ways of learn<strong>in</strong>g relevant to the twenty-first century<br />
which enable communities of learners to challenge <strong>in</strong>tellectual<br />
perceptions of creativity, academic excellence and leadership. The<br />
Queensland Government has established a new mode of school<strong>in</strong>g<br />
with<strong>in</strong> International Baccalaureate frameworks that focus on sciences<br />
(<strong>in</strong>clud<strong>in</strong>g Health Sciences), mathematics, technology and creative<br />
<strong>in</strong>dustries practice and <strong>in</strong>novation.<br />
› The gaze and image manipulation: Philosophies, pedagogies and arts<br />
practice, International Journal of Education through Art, 2.1, 61-.<br />
Mary Maclean is currently Lecturer <strong>in</strong> the F<strong>in</strong>e Art Department at the<br />
University of Read<strong>in</strong>g. Mary Maclean studied at the Royal College of<br />
Art, the Rijk Academy Amsterdam and Glasgow School of Art. She<br />
was Visit<strong>in</strong>g Fellow <strong>in</strong> Pa<strong>in</strong>t<strong>in</strong>g at W<strong>in</strong>chester School of Art. Awards<br />
<strong>in</strong>clude a Pollock Krasner Foundation Award and the Abbey Award <strong>in</strong><br />
Pa<strong>in</strong>t<strong>in</strong>g at the British School at Rome. Solo shows <strong>in</strong>clude: Before,<br />
The Room, London (2007); Almost Noth<strong>in</strong>g, Neutral Space, Brighton<br />
(2006); Somewhere ... fast, Belfast Exposed, Belfast (2004); and Still<br />
Moves, East 73rdgallery, London (2002).<br />
› Consider<strong>in</strong>g If…Then…Else…, Journal of Visual Art Practice, 6.3, 257-.<br />
Katy Macleod runs the jo<strong>in</strong>t honours Art History/F<strong>in</strong>e Art course and<br />
coord<strong>in</strong>ates the Critical Studies programme <strong>in</strong> the BA F<strong>in</strong>e Art course<br />
at the University of Plymouth. She is currently undertak<strong>in</strong>g a study of<br />
practice-based M.Phil.s and Ph.D.s <strong>in</strong> F<strong>in</strong>e Art and has published<br />
several papers on the subject. She has a long-term commitment to<br />
curriculum development based <strong>in</strong> <strong>in</strong>vestigations of the theory/practice<br />
relationship.<br />
› The Enactment of Th<strong>in</strong>k<strong>in</strong>g: creative practice <strong>research</strong> degrees, Journal of<br />
Visual Art Practice, 2.1, 11-11.<br />
› The enactment of th<strong>in</strong>k<strong>in</strong>g: the creative practice Ph.D., Journal of Visual Art<br />
Practice, 4.2, 197-.
Hans Maes<br />
History and Philosphy of Art,<br />
University of Kent, Jarman Build<strong>in</strong>g,<br />
School of <strong>Arts</strong>, Canterbury, Kent,<br />
CT2 7UG, United K<strong>in</strong>gdom<br />
Keywords art, <strong>in</strong>terpretation,<br />
<strong>in</strong>tentionalism, jokes, cartoon,<br />
Liv<strong>in</strong>gston, erotic art, beauty<br />
Jonas Major<br />
AHO School of Architecture and<br />
Design, OSLO<br />
Keywords architecture, design<br />
Maarit Mäkelä<br />
Aalto University School of Art and<br />
Design, Department of Design,<br />
Research, Hämeentie 135 C, PO Box<br />
31000, Hels<strong>in</strong>ki, FIN-00076, F<strong>in</strong>land<br />
Keywords material-based art,<br />
<strong>research</strong> practice, fem<strong>in</strong><strong>in</strong>ity, gender,<br />
history<br />
Hans Maes is Lecturer <strong>in</strong> Philosophy at the University of Kent,<br />
Canterbury, United K<strong>in</strong>gdom. He received his Ph.D. from the<br />
University of Leuven, Belgium, and conducted postdoctoral <strong>research</strong> at<br />
the University of Hels<strong>in</strong>ki, F<strong>in</strong>land, and University of Maryland,<br />
United States. His ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests are aesthetics, philosophy of<br />
photography and film, moral psychology.<br />
› Challeng<strong>in</strong>g partial <strong>in</strong>tentionalism, Journal of Visual Art Practice, 7.1, 85-<br />
94.<br />
Jonas Major studied at The Oslo School of Architecture and Design<br />
and at The Bartlett Faculty of the Built Environment, University<br />
College London. After f<strong>in</strong>ish<strong>in</strong>g his studies <strong>in</strong> 2009 he has worked <strong>in</strong><br />
several Oslo based practices, on his own <strong>research</strong> based architectural<br />
projects, and has taught architectural design as well as host<strong>in</strong>g a weekly<br />
symposium series at the Oslo School of Architecture.<br />
› Project profiles, Design Ecologies, 1.1, 153-.<br />
Maarit Mäkelä is docent of artistic <strong>research</strong> and material based art at<br />
Aalto University, School of Art and Design, Hels<strong>in</strong>ki, where she also<br />
works as a coord<strong>in</strong>ator of the Design Connections Doctoral School.<br />
She has published her articles <strong>in</strong> different arenas and is co-editor of the<br />
anthology ‘The Art of Research. Research Practices <strong>in</strong> Art and Design’.<br />
Mäkelä also works as an artist <strong>in</strong> the junction of ceramics and f<strong>in</strong>e art.<br />
She has had several solo exhibitions <strong>in</strong> F<strong>in</strong>land and has taken part <strong>in</strong><br />
frequent group exhibitions <strong>in</strong> F<strong>in</strong>land and abroad. Her works deal with<br />
fem<strong>in</strong><strong>in</strong>ity. She has discussed this theme broader <strong>in</strong> her doctoral<br />
dissertation ‘Memories on clay: representations of subjective creation<br />
process and gender’.<br />
› Craft<strong>in</strong>g narratives: Us<strong>in</strong>g historical context as a refl ective tool, Craft<br />
Research, 2.1, 37-60.<br />
Suhail Malik Suhail Malik is Reader <strong>in</strong> Critical Studies <strong>in</strong> the Department of Art,<br />
Goldsmiths, London, where he was also Director of The Political<br />
Currency of Art Research Group between 2006-09. Malik has written
Goldsmiths College, University of<br />
London, Art Department, New Cross,<br />
London, SE14 6NW, United<br />
K<strong>in</strong>gdom<br />
Keywords contemporary art, critical<br />
theory, political theory, morality,<br />
America<br />
Julian Mal<strong>in</strong>s<br />
Robert Gordon University, IDEAS<br />
Research Institute, Garthdee Road,<br />
Aberdeen, AB10 7QD, United<br />
K<strong>in</strong>gdom<br />
Keywords personal development<br />
plann<strong>in</strong>g (PDP), reflection, onl<strong>in</strong>e<br />
web-based tools, constructivist<br />
approach, managed learn<strong>in</strong>g<br />
environment, design th<strong>in</strong>k<strong>in</strong>g<br />
Laura Malosetti Costa<br />
Instituto de Altos Estudios Sociales,<br />
Universidad Nacional de San mart<strong>in</strong>,<br />
IDAES - UNSAM, Parana 145 - 5º<br />
piso, Buenas Aires, CP 1017,<br />
Argent<strong>in</strong>a<br />
Keywords culture, memory,<br />
Argent<strong>in</strong>a, history, Lat<strong>in</strong> American art<br />
Sunil Manghani<br />
York St John University, Faculty of<br />
on the market and critical conditions of contemporary art, political<br />
economy and theory, art education, several catalogue essays, and is<br />
currently work<strong>in</strong>g on a philosophy of American power.<br />
› Critique as alibi: moral differentiation <strong>in</strong> the art market, Journal of Visual Art<br />
Practice, 7.3, 283-295.<br />
Professor Julian Mal<strong>in</strong>s is currently Professor of Design and a pr<strong>in</strong>cipal<br />
member of the IDEAS Research Institute and Director of the Centre for<br />
Design & Innovation (www.c4di.org.uk). His publications cover a<br />
broad range of topics <strong>in</strong>clud<strong>in</strong>g approaches to <strong>research</strong> <strong>in</strong> art and<br />
design, virtual learn<strong>in</strong>g environments, computer supported<br />
collaborative design, and design th<strong>in</strong>k<strong>in</strong>g.<br />
› Evaluat<strong>in</strong>g GraysNet: an onl<strong>in</strong>e PDP tool for use <strong>in</strong> an art and design context,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 4.1, 31-48.<br />
Laura Malosetti Costa is Professor and <strong>research</strong>er <strong>in</strong> Art History and<br />
Cultural History at the University of Buenos Aires, CONICET<br />
(National Council for Scientific and Technological Research) and<br />
IDAES (Post Graduate Institute for Social Studies) National University<br />
of Gral. San Martín. She is the author of a number of books and<br />
articles, <strong>in</strong>clud<strong>in</strong>g Los primeros modernos: Arte y sociedad en Buenos<br />
Aires a f<strong>in</strong>es del siglo XIX (Buenos Aires – Mexico, FCE 2001 and<br />
2003), awarded by the Association for Lat<strong>in</strong> American Art <strong>in</strong> 2003,<br />
Arte de Posguerra: Jorge Romero Brest y la revista Ver y Estimar (coeditor<br />
with Andrea Giunta, 2005) and Pío Collivad<strong>in</strong>o (Buenis Aires,<br />
El Ateneo, 2006).<br />
› Politics, desire and memory <strong>in</strong> the construction of landscape <strong>in</strong> the Argent<strong>in</strong>e<br />
pampas, Journal of Visual Art Practice, 5.1, 107-.<br />
Sunil Manghani is Reader <strong>in</strong> Critical & Cultural Theory at York St<br />
John University, United K<strong>in</strong>gdom. His publications appear <strong>in</strong> Theory,<br />
Culture & Society, Film International, Invisible Culture, Journal of
<strong>Arts</strong>, Lord Mayor's Walk, York,<br />
North Yorkshire, YO31 7EX, United<br />
K<strong>in</strong>gdom<br />
Keywords critical theory, cultural<br />
studies, image media neutral, new<br />
media, visual culture<br />
Rita Marcalo<br />
Instant Dissidence, N/A<br />
Keywords dance, epilepsy, disability,<br />
phenomenology. nudity, mobile<br />
technology, automotive mechanics,<br />
outdoor performance, technology,<br />
science, memory, documentation<br />
Ricardo Marín Viadel<br />
Universidad de Granada, Facultad de<br />
Bellas Artes, Granada, 18071, Spa<strong>in</strong><br />
Keywords educational <strong>research</strong>,<br />
teacher tra<strong>in</strong><strong>in</strong>g, photography,<br />
draw<strong>in</strong>g, pa<strong>in</strong>t<strong>in</strong>g, arts-based<br />
educational <strong>research</strong><br />
Visual Art Practice and Culture, Theory and Critique. He is co-editor<br />
of Images: A Reader (Sage, 2006), an anthology of writ<strong>in</strong>gs on the<br />
image from Plato to the present. He is currently work<strong>in</strong>g on an Image<br />
Studies textbook, as well pursu<strong>in</strong>g a <strong>research</strong> <strong>in</strong>terest <strong>in</strong> aspects of<br />
neutrality.<br />
› In the Study of the Letters <strong>in</strong> Red…, Journal of Visual Art Practice, 4.1, 19-<br />
28.<br />
› MyResearch.com: speculations on bridg<strong>in</strong>g <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong> the arts,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 6.2, 85-98.<br />
› Confessions of a virtual scholar, or, writ<strong>in</strong>g as worldly performance, Journal<br />
of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.2, 173-192.<br />
Dr. Rita Marcalo is a conceptual choreographer and practice-based<br />
<strong>research</strong>er. After perform<strong>in</strong>g <strong>in</strong>ternationally she founded Instant<br />
Dissidence (http://www.<strong>in</strong>stantdissidence.co.uk) and <strong>in</strong> 2006<br />
completed an AHRB-funded practice-based Ph.D. Marcalo has<br />
published <strong>in</strong>: Diario de Aveiro (2010), Yorkshire Post (2010), Journal<br />
of Writ<strong>in</strong>g <strong>in</strong> Creative Practice (2009), Animated Magaz<strong>in</strong>e (2007),<br />
Society for Dance Research Newsletter (2002) and Research <strong>in</strong> Dance<br />
Education (2002). She also features <strong>in</strong> the books Perform<strong>in</strong>g Nature,<br />
Explorations <strong>in</strong> Ecology and the <strong>Arts</strong> (2006) by Gabriella Giannachi<br />
and Nigel Stewart, The Dust Archive and A History of Leeds Met<br />
Studio Theatre (2008) by Alexander Kelly and Annie Lloyd. In 2011<br />
Portuguese television screened a documentary featur<strong>in</strong>g Marcalo’s<br />
work<br />
› Fail<strong>in</strong>g to do without: writ<strong>in</strong>g as classical documentation of post-classical<br />
choreographic documentation, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.1,<br />
105-116.<br />
Ricardo Marín Viadel has a Bachelor degree <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> (Pa<strong>in</strong>t<strong>in</strong>g)<br />
and Ph.D. <strong>in</strong> Philosophy and Education. He was a professor at the<br />
University of Valencia from 1980–81, at the University of Barcelona<br />
from 1981–84, the Computense University of Madrid from 1984–88<br />
and now works at the University of Granada (Spa<strong>in</strong>). His recent books<br />
and exhibition catalogues <strong>in</strong>clude Utopías ácidas/Acidic utopias<br />
(2000); Equipo Crónica: p<strong>in</strong>tura, cultura, sociedad/Cronica Group:<br />
pa<strong>in</strong>t<strong>in</strong>g, culture, society (2003); Didáctica de la Educación<br />
Artística/Teach<strong>in</strong>g Art Education (2003); Investigación en Educación<br />
Artística/Research <strong>in</strong> Art Education (2005); Colección de Arte
Francesco Mariotti<br />
Switzerland<br />
Keywords art, technology, art<br />
<strong>in</strong>stallation<br />
Lily Markiewicz<br />
Keywords trauma, witness<strong>in</strong>g,<br />
dwell<strong>in</strong>g, feel<strong>in</strong>g at home, hous<strong>in</strong>g<br />
oneself<br />
Leigh Markopoulos<br />
Keywords<br />
Contemporáneo de la Universidad de Granada/Modern Art Collection<br />
of the University of Granada (2007); Draw<strong>in</strong>gs of the Time.(2010);<br />
› Photo essays and photographs <strong>in</strong> visual arts-based educational <strong>research</strong>,<br />
International Journal of Education through Art, 6.1, 7-23.<br />
Francesco Mariotti was born <strong>in</strong> Switzerland <strong>in</strong> 1943. He has worked<br />
with art and technology <strong>in</strong> many countries, but especially between<br />
Switzerland and Peru. He lived <strong>in</strong> Lima 1953–61. He studied at the<br />
Ecole des Beaux <strong>Arts</strong>, Paris and the University for Screen <strong>Arts</strong>,<br />
Hamburg. He has lectured at the Lima Art Academy, Peru, and was<br />
formerly, Secretary-General of the Locarno Video Festival.<br />
› The Garden of Kaametza and Narowé. Installation, Trancoso, 2006,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 4.2, 115-116.<br />
Lily Markiewicz uses photography, film/video and recorded sound to<br />
evoke sensations of pictorial and emotional ambiguities. Often<br />
focus<strong>in</strong>g on deliberately low-key subject matter, her images and<br />
<strong>in</strong>stallations are both an offer and a refusal at the same time; someth<strong>in</strong>g<br />
is revealed and much is concealed. It is this very paradox that is the<br />
object of her <strong>in</strong>vestigations. She regularly exhibits and lives <strong>in</strong> London<br />
where she works as a freelance editor and consultant.<br />
› Some thoughts on feel<strong>in</strong>g at home, Journal of Visual Art Practice, 5.1, 21-<br />
28.<br />
Leigh Markopoulos is Associate Professor and Chair of the Curatorial<br />
Practice MA Program at the California College of the <strong>Arts</strong>, San<br />
Francisco. Formerly Director of Rena Bransten Gallery, Markopoulos<br />
held positions at the CCA Wattis Institute for Contemporary <strong>Arts</strong> and<br />
the Serpent<strong>in</strong>e Gallery, London. She has curated over fifty exhibitions,<br />
<strong>in</strong>clud<strong>in</strong>g most recently Love is a Stranger (2010) at Creative Growth,<br />
Oakland, and Complicity: Contemporary Photography and the Matter<br />
of Sculpture (2009) at Rena Bransten Gallery. She is a regular reviewer<br />
for Art Practical and has contributed texts for many artists'<br />
publications, <strong>in</strong>clud<strong>in</strong>g most recently for Johan Grimonprez (2011).
Paul Mart<strong>in</strong><br />
Keywords mean<strong>in</strong>g-mak<strong>in</strong>g,<br />
transformative learn<strong>in</strong>g, perception<br />
Hélène Mart<strong>in</strong>-Brelot<br />
LISST-CIEU - Université Toulouse<br />
Le Mirail, CNRS, 5 allées Antonio<br />
Machado, 31058 Toulouse cedex,<br />
France<br />
Keywords hard and soft location<br />
factors, creative <strong>in</strong>dustries, managers,<br />
policies<br />
Rachel Mason<br />
Roehampton University, Southlands<br />
› The Accidental Exhibition: Chance as Curatorial Critique and Opportunity,<br />
Journal of Curatorial Studies, 1.1, 7-24.<br />
Paul Mart<strong>in</strong> is a practis<strong>in</strong>g artist and founder member of the Brighton 5<br />
Ways artist group. His first degree was <strong>in</strong> environmental Art and<br />
Design and he cont<strong>in</strong>ued to take a BA <strong>in</strong> Social Sciences and<br />
Humanities with the Open University and a PGCEA <strong>in</strong> teach<strong>in</strong>g adults<br />
at Surrey University. His Masters and Doctorate, both at Surrey,<br />
focused on aspects of adults’ learn<strong>in</strong>g <strong>in</strong> the field of Art and Design.<br />
Although hav<strong>in</strong>g taught a range of subjects <strong>in</strong>clud<strong>in</strong>g Yoga and<br />
Management Development, his ma<strong>in</strong> focus has been <strong>in</strong> Art and Design.<br />
Paul has taught Art <strong>in</strong> Cont<strong>in</strong>u<strong>in</strong>g Education, FE and HE from<br />
beg<strong>in</strong>ners to degree level and has developed, written, validated and<br />
been course leader of an Art and Design access programme and BA <strong>in</strong><br />
F<strong>in</strong>e Art Pa<strong>in</strong>t<strong>in</strong>g at Northbrook College.<br />
› Challeng<strong>in</strong>g the Perceptions of Adult Learners <strong>in</strong> F<strong>in</strong>e Art, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 1.2, 96-107.<br />
Hélène Mart<strong>in</strong>-Brelot is a <strong>research</strong> fellow <strong>in</strong> urban geography at the<br />
Interdiscipl<strong>in</strong>ary Centre for Urban Studies (LISST-Cieu), University of<br />
Toulouse. Her Ph.D. <strong>in</strong> geography (January 2006) dealt with<br />
Information and Communication Technologies (ICTs) and their<br />
potential role <strong>in</strong> a susta<strong>in</strong>able development strategy. As an experiment<br />
she created 22 monthly magaz<strong>in</strong>es of 20 m<strong>in</strong>utes each (called<br />
Rhizome) about environment concerns for a local TV station near<br />
Versailles. She recently compared the spatial dynamics of Île-de-<br />
France, London, Berl<strong>in</strong> and Luxemburg regard<strong>in</strong>g the aim of<br />
susta<strong>in</strong>able development.<br />
› The spatial orientations and the behaviours of managers <strong>in</strong> the audio-visual,<br />
web design and consultancy sectors <strong>in</strong> a knowledge <strong>in</strong>tensive city: Toulouse,<br />
Creative Industries Journal, 2.1, 91-103.<br />
Rachel Mason is Professor <strong>in</strong> Art Education at Roehampton University.<br />
Professor Mason has an <strong>in</strong>ternational reputation for her work <strong>in</strong> art<br />
education and multiculturalism, and is the co-ord<strong>in</strong>ator of art education
College, 80 Roehampton Lane,<br />
London, SW15 5SL, United K<strong>in</strong>gdom<br />
Keywords art education,<br />
multiculturalism<br />
Anne Massey<br />
K<strong>in</strong>gston University, School of Art<br />
and Design History, Knights Park,<br />
K<strong>in</strong>gston Upon Thames, Surrey, KT1<br />
2QJ, United K<strong>in</strong>gdom<br />
Keywords creativity, psychological<br />
profil<strong>in</strong>g, design, management<br />
A.B.D Nadja Masura<br />
University of Maryland, Department<br />
of Theatre, College Park, MD, 20742,<br />
<strong>research</strong> <strong>in</strong> the Centre for International Research on Creativity and<br />
Learn<strong>in</strong>g <strong>in</strong> Education (CIRCLE) at Roehampton where she directs a<br />
number of funded <strong>research</strong> projects. Rachel is Editor of The<br />
International Journal of Education through Art and consultant for the<br />
Research and Development Centre <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> Education <strong>in</strong> Asia at<br />
Capital Normal University Beij<strong>in</strong>g.<br />
› Creative education through arts and crafts, International Journal of<br />
Education through Art, 1.1, 3-8.<br />
› Editorial, International Journal of Education through Art, 2.2, 75-76.<br />
› Editorial, International Journal of Education through Art, 2.3, 167-169.<br />
› Editorial, International Journal of Education through Art, 3.2, 87-90.<br />
› Editorial, International Journal of Education through Art, 3.1, 3-6.<br />
› Editorial, International Journal of Education through Art, 4.2, 115-117.<br />
› Editorial, International Journal of Education through Art, 4.3, 227-229.<br />
› Editorial, International Journal of Education through Art, 5.1, 3-5.<br />
› Editorial, International Journal of Education through Art, 5.2&3, 107-110.<br />
› Editorial, International Journal of Education through Art, 6.1, 3-5.<br />
Anne Massey studied at the University of Northumbria (then<br />
Newcastle Polytechnic) achiev<strong>in</strong>g a 2.1 <strong>in</strong> BA (Hons.) History of<br />
Modern Art, Design and Film <strong>in</strong> 1980 and a Ph.D. on ‘The Independent<br />
Group: Towards a Redef<strong>in</strong>ition’ <strong>in</strong> 1985. In 2000 she was an awarded<br />
an MBA by the Open University. She has published numerous reviews,<br />
articles, chapters <strong>in</strong> edited collections and contributions to exhibition<br />
catalogues and has written four, s<strong>in</strong>gle-author books. She was the<br />
found<strong>in</strong>g Dean of the Media <strong>Arts</strong> Faculty at the Southampton Institute<br />
and the Director of the School of Design at the <strong>Arts</strong> Institute <strong>in</strong><br />
Bournemouth. She is now Senior Lecturer <strong>in</strong> the School of Art, Design<br />
& Music at K<strong>in</strong>gston University and is currently work<strong>in</strong>g on a book<br />
about the <strong>in</strong>terior design of ocean l<strong>in</strong>ers for Spon press.<br />
› Develop<strong>in</strong>g creativity for the world of work: a case study, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 4.1, 17-30.<br />
Nadja Masura is a digital artist and performer from Northern<br />
California. She is currently a Ph.D. candidate at the University of<br />
Maryland and former Maryland Institute for Technology <strong>in</strong> the<br />
Humanities Fellow <strong>in</strong> Theatre and Digital Technology. She is currently
United States of America<br />
Keywords audience, connection,<br />
Interplay, multi-site performance,<br />
participants,<br />
Stanley Mathews<br />
Hobart and William Smith Colleges,<br />
Department of Art and Architecture,<br />
Hobart and William Smith Colleges,<br />
Geneva, New York, 14456, United<br />
States of America<br />
Keywords Cedric Price, Fun Palace,<br />
Joan Littlewood, architecture,<br />
improvisation cybernetics<br />
Chris Mathieu<br />
Institute of Organisation and<br />
Industrial Sociology, Copenhagen<br />
Bus<strong>in</strong>ess School, Kilevej 14 A,<br />
Frederiksberg, DK-2000, Denmark<br />
Keywords gender, values, ethics,<br />
moral argumentation, sociology of<br />
Labour, qualitative assessments,<br />
differentiation, <strong>in</strong>tegration, sociology<br />
work<strong>in</strong>g on her dissertation titled 'Digital Theatre: Expand<strong>in</strong>g Body,<br />
Place and Community' which explores the ways <strong>in</strong> which theatre<br />
utiliz<strong>in</strong>g digital technology (such as animation, video, motion<br />
capture/sens<strong>in</strong>g, <strong>in</strong>ternet broadcast) alongside the 'live' co-present actor<br />
expands our ideas of body, place, and community through the blurr<strong>in</strong>g<br />
of theatrical roles and social concepts. She has presented at ASTR,<br />
ATHE and IFTR, and performed onl<strong>in</strong>e at Siggraph and<br />
Supercomput<strong>in</strong>g. Believ<strong>in</strong>g praxis is an important part of develop<strong>in</strong>g<br />
scholarship, Nadja has been actively creat<strong>in</strong>g digital performance both<br />
on locally and onl<strong>in</strong>e. For the past three years she participated <strong>in</strong> the<br />
ArtGrid onl<strong>in</strong>e community; locally coord<strong>in</strong>at<strong>in</strong>g, creat<strong>in</strong>g media, and<br />
perform<strong>in</strong>g the Interplay Series.<br />
› Altered states: Multi-site performance high, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 4.3, 221-232.<br />
Stanley Mathews is an atypical architectural historian. Mathews holds<br />
three advanced degrees: he received his Ph.D. <strong>in</strong> the History and<br />
Theory of Architecture from Columbia University <strong>in</strong> 2003, as well as a<br />
Master of F<strong>in</strong>e <strong>Arts</strong> degree and a Master of Architecture. Mathews is a<br />
professor of art and architecture at Hobart and William Smith Colleges<br />
<strong>in</strong> Geneva, New York. In addition, he is a practic<strong>in</strong>g architect and has<br />
built projects total<strong>in</strong>g more than 30 million dollars. His varied<br />
background has given him a unique po<strong>in</strong>t of view on the history and<br />
practice of architecture. For the past several years he has worked<br />
extensively on Cedric Price. He has written articles for and the Journal<br />
of Architectural Education, and has delivered four recent papers at<br />
<strong>in</strong>ternational conferences on Price and his work.<br />
› The Fun Palace: Cedric Price’s experiment <strong>in</strong> architecture and technology,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 3.2, 73-92.<br />
Chris Mathieu has a Ph.D. <strong>in</strong> sociology from Lund University and is<br />
currently associate professor at Copenhagen Bus<strong>in</strong>ess School. His<br />
current <strong>research</strong> focuses on creative collaboration and labour and<br />
occupational mobility issues <strong>in</strong> the Danish film <strong>in</strong>dustry. His primary<br />
<strong>research</strong> areas are gender; values, ethics and moral argumentation;<br />
sociology of Labour; qualitative assessments; differentiation and<br />
<strong>in</strong>tegration; sociology of organizations; cultural <strong>in</strong>dustries/film<br />
<strong>in</strong>dustry; sociology of religion/religious organizations; and culture,<br />
structure and agency.
of organizations, Danish film<br />
<strong>in</strong>dustry, sociology of religion › Is this what we should be compar<strong>in</strong>g when compar<strong>in</strong>g film production<br />
regimes? A systematic typological scheme and application, Creative<br />
Industries Journal, 1.2, 171-192.<br />
Ernest Mathijs<br />
Univresity of British Columbia,<br />
Department of Theatre and Film,<br />
6354 Crescent Road, Vancouver, BC,<br />
V6T 1Z2, Canada<br />
Keywords teach<strong>in</strong>g film, media<br />
literacy, vernacular concepts, moral<br />
controversies<br />
Patrick Maynard<br />
Department of Philosophy, University<br />
of Western Ontario, Ontario, Canada<br />
Keywords philosophy, photography<br />
Sherry Mayo<br />
Westchester Community College,<br />
Department of Art, 200 School House<br />
Road, Loft #1A, Peekskill, NY<br />
10566, United States of America<br />
Keywords art technology, higher<br />
education, digital imag<strong>in</strong>g<br />
Ernest Mathijs is Associate Professor <strong>in</strong> Film Studies at the University<br />
of British Columbia, Canada. His books <strong>in</strong>clude Cult C<strong>in</strong>ema, The Cult<br />
Film Reader (co-editor), three books on the reception of The Lord of<br />
the R<strong>in</strong>gs, and The C<strong>in</strong>ema of David Cronenberg: From Baron of<br />
Blood to Cultural Hero. His <strong>research</strong> focuses on the reception of<br />
alternative and ‘problematic’ media (horror film, reality-TV, regional<br />
c<strong>in</strong>ema, and cultural resistance).<br />
› Understand<strong>in</strong>g vernacular experiences of film <strong>in</strong> an academic environment,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 4.1, 49-.<br />
Patrick Maynard is a graduate of the University of Chicago and Cornell<br />
University, has US and Canadian citizenship, and presently lives <strong>in</strong><br />
England. He taught Philosophy at the University of Western Ontario<br />
and has had appo<strong>in</strong>tments at the University of Michigan-Ann Arbor,<br />
the University of California-Berkeley and Simon Fraser University. In<br />
addition to many papers <strong>in</strong> philosophy, he has published extensively on<br />
photography (The Eng<strong>in</strong>e of Visualization, Cornell University Press,<br />
1997) and draw<strong>in</strong>g (Draw<strong>in</strong>g Dist<strong>in</strong>ctions, Cornell University Press,<br />
2005).<br />
› Work<strong>in</strong>g light, Philosophy of Photography, 1.1, 29-34.<br />
Sherry Mayo, MFA, Ed.DCT is the Director of the Center for the<br />
Digital <strong>Arts</strong>, Westchester Community College. Her <strong>research</strong> areas<br />
<strong>in</strong>clude arts technology <strong>in</strong>tegration <strong>in</strong> higher education and comb<strong>in</strong><strong>in</strong>g<br />
both traditional and digital materials <strong>in</strong>to studio practice. As a<br />
practitioner, she is thoroughly engaged with pa<strong>in</strong>t<strong>in</strong>g, draw<strong>in</strong>g and<br />
digital imag<strong>in</strong>g. In addition, Mayo has <strong>in</strong>tensive studio experience with<br />
digital video. Scholarly <strong>in</strong>terests <strong>in</strong>clude arts technology <strong>in</strong>tegration <strong>in</strong><br />
arts education, digital aesthetics, the cultural impact of digital<br />
technologies, consciousness, cosmology and the post-human. Recent<br />
exhibitions <strong>in</strong>clude ‘Private i’ (Skylight Gallery, New York); ‘Far &
Marian Mazzone<br />
College of Charleston, Department of<br />
Art History, Charleston, SC 29424-<br />
0001, United States of America<br />
Keywords Ken Friedman, fluxus,<br />
<strong>in</strong>termedia, Prague, Eastern Europe ,<br />
Euan McArthur<br />
University of Dundee, Duncan of<br />
Jordanstone School of Design, F<strong>in</strong>e<br />
Art Department, Dundee, DD1 4HN,<br />
United K<strong>in</strong>gdom<br />
Keywords <strong>research</strong>-based practice,<br />
AHRB, RAE<br />
Mike McAuley<br />
Massey University, Institute of<br />
Communication Design, College of<br />
Creative <strong>Arts</strong>, Massey University,<br />
Museum Build<strong>in</strong>g, Buckle Street,<br />
Well<strong>in</strong>gton, New Zealand<br />
Keywords art education, design<br />
practice, illustration, music, nexus<br />
pr<strong>in</strong>ciple<br />
Wide: 2nd Annual Woodstock Regional’, juried by Patricia Phagen,<br />
where she received the Juror’s Choice Award for draw<strong>in</strong>g (WAAM,<br />
http://www.woodstockart.org/museum/current_exhibit.htm,<br />
Woodstock, NY); ‘Love Beyond Borders’ (Brighton, UK).<br />
› CAA 2011, Visual Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 89-92.<br />
Marian Mazzone is an associate professor and chair of the art history<br />
department at the College of Charleston. She teaches modern and<br />
contemporary art history, and hascurated several exhibitions of<br />
contemporary art. Her areas of <strong>research</strong> and publication <strong>in</strong>clude Eastern<br />
European art, and Russian and Ch<strong>in</strong>ese art of the 20th century forward.<br />
› ‘Keep<strong>in</strong>g together’ Prague and San Francisco: network<strong>in</strong>g <strong>in</strong> 1960s art,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.3, 275-292.<br />
Euan McArthur graduated <strong>in</strong> Draw<strong>in</strong>g and Pa<strong>in</strong>t<strong>in</strong>g from Gray’s School<br />
of Art, Aberdeen. He subsequently went <strong>in</strong>to exhibition curation, as<br />
Director of <strong>Arts</strong>pace Galleries, Aberdeen and as Exhibitions Organizer<br />
at Third Eye Centre, Glasgow before becom<strong>in</strong>g Course Director <strong>in</strong><br />
History and Theory of Art <strong>in</strong> the School of F<strong>in</strong>e Art, Dundee. He is<br />
currently Head of the School of F<strong>in</strong>e Art.<br />
› DEBATE: Research <strong>in</strong> the creative and perform<strong>in</strong>g arts: A response to the<br />
AHRB Paper ‘The RAE and Research <strong>in</strong> the Creative and Perform<strong>in</strong>g <strong>Arts</strong>.<br />
Review of Research Assessment’, Journal of Visual Art Practice, 3.1, 75-.<br />
Mike McAuley has over 26 years experience as both a design<br />
practitioner and an educator. His teach<strong>in</strong>g career began as a peripatetic<br />
art teacher <strong>in</strong> primary and special school education <strong>in</strong> the Tayside<br />
region. Mike then became an art and design teacher <strong>in</strong> various high<br />
schools <strong>in</strong> Dundee. In 1990 he gave up his teach<strong>in</strong>g practice to focus on<br />
develop<strong>in</strong>g his career full-time as a professional illustrator <strong>in</strong> Perth,<br />
Australia. In 1995 he took up the position of Subject Director <strong>in</strong><br />
Illustration at Massey University. While he still ma<strong>in</strong>ta<strong>in</strong>s his<br />
professional practice, his focus has been towards scholarly publication<br />
through writ<strong>in</strong>g. As a counterbalance to his academic lean<strong>in</strong>gs, Mike is
David McConville<br />
The Elumenati, Noospheric Research<br />
Division, 414 Hayward Road,<br />
Ashville, North Carol<strong>in</strong>a, NC 28806,<br />
United States of America<br />
Keywords dome, immersion,<br />
cosmology, visual language,<br />
expanded c<strong>in</strong>ema<br />
Nicole McDaniel<br />
Texas A&M University, Mailstop<br />
4227, Blocker Build<strong>in</strong>g, Texas A& M<br />
University, College Station, TX<br />
77843, United States of America<br />
Keywords memory, seriality,<br />
memoir, Art Spiegelman<br />
Liz McDowell<br />
Northumbria University, Centre for<br />
Excellence <strong>in</strong> Teach<strong>in</strong>g and Learn<strong>in</strong>g,<br />
Newcastle upon Tyne, NE1 8ST,<br />
United K<strong>in</strong>gdom<br />
also a professional musician, and he performs regularly throughout<br />
New Zealand.<br />
› A design education perspective on the process of <strong>in</strong>terpret<strong>in</strong>g words <strong>in</strong>to<br />
pictures, Art, Design & Communication <strong>in</strong> Higher Education, 9.2, 111-133.<br />
David McConville is a media artist and <strong>research</strong>er specializ<strong>in</strong>g <strong>in</strong> the<br />
development of dome-based display technologies. He is co-founder of<br />
The Elumenati, a full service design and eng<strong>in</strong>eer<strong>in</strong>g firm specializ<strong>in</strong>g<br />
<strong>in</strong> the development and deployment of immersive visualization<br />
environments and experiences. The Elumenati provides systems<br />
<strong>in</strong>tegration, real-time software design, immersive content <strong>research</strong>,<br />
custom fabrication, and optical eng<strong>in</strong>eer<strong>in</strong>g for clientele rang<strong>in</strong>g from<br />
art festivals to space agencies. David holds a BS <strong>in</strong> Music and Audio<br />
Eng<strong>in</strong>eer<strong>in</strong>g from UNC-Asheville, where he <strong>research</strong>ed 3D audio and<br />
MIDI systems under Dr. Robert Moog.<br />
› Cosmological C<strong>in</strong>ema: Pedagogy, Propaganda, and Perturbation <strong>in</strong> Early<br />
Dome Theaters, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 5.2, 69-<br />
86.<br />
Nicole McDaniel is a Post-Doctoral Lecturer at Texas A&M<br />
University, where she specializes <strong>in</strong> life writ<strong>in</strong>g studies and ethnic<br />
American literature. She is currently revis<strong>in</strong>g her dissertation, ‘Seriality<br />
<strong>in</strong> Contemporary American Memoir: 1957–2007’, as a scholarly<br />
monograph.<br />
› Self-reflexive graphic narrative: Seriality and Art Spiegelman's Portrait of<br />
the Artist as a Young &, Studies <strong>in</strong> Comics, 1.2, 197-211.<br />
Dr. Liz McDowell is Professor <strong>in</strong> Academic Practice at Northumbria<br />
University and Director of the National Centre for Excellence <strong>in</strong><br />
Assessment for Learn<strong>in</strong>g. Her ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests are on the<br />
impacts of learn<strong>in</strong>g environments on student learn<strong>in</strong>g. Many of her<br />
publications focus on the relationships between assessment and<br />
learn<strong>in</strong>g and the model of assessment for learn<strong>in</strong>g used at Northumbria<br />
derives from this work. Liz has a major role <strong>in</strong> promot<strong>in</strong>g <strong>in</strong>novation
Keywords Assessment for Learn<strong>in</strong>g,<br />
design pedagogy, Global Studio,<br />
educational discourses, collaborative<br />
learn<strong>in</strong>g<br />
Andrew McGettigan<br />
Keywords<br />
Kate McGowan<br />
Keywords time, desire, be<strong>in</strong>g, trace,<br />
simulation<br />
Jim McGuigan<br />
Loughborough University,<br />
Department of Social Sciences<br />
and enhancement <strong>in</strong> teach<strong>in</strong>g, learn<strong>in</strong>g and assessment practices, and <strong>in</strong><br />
staff learn<strong>in</strong>g both for new academic staff and the cont<strong>in</strong>u<strong>in</strong>g<br />
professional development of established staff. This work br<strong>in</strong>gs<br />
together <strong>research</strong>, <strong>in</strong>novation and development.<br />
› Intersections: The utility of an ‘Assessment for Learn<strong>in</strong>g’ discourse for<br />
Design educators, Art, Design & Communication <strong>in</strong> Higher Education, 8.2,<br />
123-134.<br />
› , Philosophy of Photography, 2.1, 159-183.<br />
Kate McGowan is Senior Lecturer <strong>in</strong> English and Cultural Studies at<br />
Manchester Metropolitan University. Special areas of <strong>in</strong>terest <strong>in</strong>clude:<br />
modernism, postmodernism, deconstruction, psychoanalysis and the<br />
concept of the <strong>in</strong>human. She is currently an executive Director of The<br />
English Association and serves on both the Executive and Publications<br />
Committees of that organization. S<strong>in</strong>ce jo<strong>in</strong><strong>in</strong>g Manchester<br />
Metropolitan University, she has also spent time as a visit<strong>in</strong>g scholar at<br />
the University of Puerto Rico <strong>in</strong> the Caribbean. Her own <strong>research</strong> is<br />
currently focused on conceptual questions of the <strong>in</strong>human as well as its<br />
representation <strong>in</strong> popular media, film, literature and contemporary<br />
cultural discourse. However, she has written on subjects as diverse as<br />
Queer C<strong>in</strong>ema and Theory, Aborig<strong>in</strong>al Writ<strong>in</strong>g and National Cultures,<br />
Deconstruction and Postmodernism, Virg<strong>in</strong>ia Woolf and the English<br />
poet John Milton.<br />
› Oedipal androids: desire and the human <strong>in</strong> the third millennium, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 4.1, 39-54.<br />
Jim McGuigan is Professor of Cultural Analysis, Loughborough<br />
University, UK. His latest books are Cool Capitalism (Pluto 2009) and<br />
Cultural Analysis (Sage 2010).
Keywords culture, politics,<br />
capitalism › From cultural populism to cool capitalism, Art & the Public Sphere, 1.1, 7-<br />
18.<br />
Chris McKillop<br />
Rob<strong>in</strong> Gordon University, Gray's<br />
School of Art, Schoolhill, Abderdeen,<br />
AB10 1FR, United K<strong>in</strong>gdom<br />
Keywords reflection, onl<strong>in</strong>e webbased<br />
tools, constructivist approach,<br />
managed learn<strong>in</strong>g environment,<br />
assessment, student experience<br />
Dr Graham McLaren<br />
Bath Spa University, Bath School of<br />
Art and Design, Sion Hill, Lansdown,<br />
Bath, BA1 5SF, United K<strong>in</strong>gdom<br />
Keywords design, history, ceramics,<br />
glass, craft, education<br />
Fred McVittie<br />
University College, Falmouth,<br />
Department of Performance,<br />
Woodlane Campus, Woodlane,<br />
Falmouth, TR11 4RH, United<br />
K<strong>in</strong>gdom<br />
Chris McKillop is currently a Ph.D. <strong>research</strong> student at Gray’s School<br />
of Art where she is <strong>in</strong>vestigat<strong>in</strong>g the role of narrative <strong>in</strong> learn<strong>in</strong>g<br />
through us<strong>in</strong>g storytell<strong>in</strong>g to facilitate the reflective process. Her<br />
<strong>research</strong> aims to give a deeper understand<strong>in</strong>g of how students’ perceive<br />
and use the assessment process <strong>in</strong> art and design; to develop<br />
storytell<strong>in</strong>g as a reflective method; and to <strong>in</strong>vestigate the extent to<br />
which this process can be mediated <strong>in</strong> an onl<strong>in</strong>e environment. She has<br />
degrees <strong>in</strong> Artificial Intelligence and Human Computer Interaction and<br />
designs and evaluates onl<strong>in</strong>e learn<strong>in</strong>g environments.<br />
› Evaluat<strong>in</strong>g GraysNet: an onl<strong>in</strong>e PDP tool for use <strong>in</strong> an art and design context,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 4.1, 31-48.<br />
› Draw<strong>in</strong>g on assessment: us<strong>in</strong>g visual representations to understand students'<br />
experiences of assessment <strong>in</strong> art and design, Art, Design & Communication<br />
<strong>in</strong> Higher Education, 5.2, 131-144.<br />
Graham McLaren is Head of the Department of Design and Critical<br />
Studies at Bath School of Art and Design. He is a design historian with<br />
a particular <strong>in</strong>terest <strong>in</strong> craft, specifically the history of ceramics and<br />
glass. He has published widely on aspects of these materials, and has<br />
lectured on the subject nationally and <strong>in</strong>ternationally. He is currently<br />
complet<strong>in</strong>g a major text, The Culture of Ceramics, for Manchester<br />
University Press.<br />
› BOOK REVIEW, Craft Research, 2.1, 179-184.<br />
Fred McVittie is Programme Leader of the BA Contemporary <strong>Arts</strong><br />
degree at Manchester Metropolitan University. His <strong>research</strong> <strong>in</strong>terests<br />
straddle the fields of performance, creativity, and consciousness,<br />
focus<strong>in</strong>g particularly on the relationships between metaphors used to<br />
understand and practice with<strong>in</strong> these doma<strong>in</strong>s of knowledge. His<br />
current <strong>research</strong> is <strong>in</strong>to the use of science-based metaphors with<strong>in</strong> arts<br />
tra<strong>in</strong><strong>in</strong>g.
Keywords tra<strong>in</strong><strong>in</strong>g, embodied<br />
cognition, act<strong>in</strong>g, artificial<br />
<strong>in</strong>telligence (AI), metaphor<br />
Rosie Meade<br />
University College Cork, School of<br />
Applied Social Studies, William<br />
Thompson House, Donovan's Road,<br />
Cork, Ireland<br />
Keywords community development,<br />
Irish social movements, alternative<br />
media, cultural politics of resistance,<br />
globalization<br />
Stuart Medley<br />
School of Communications & <strong>Arts</strong>,<br />
Edith Cowan University, Bradford<br />
Street, Mt Lawley, WA 6050,<br />
Australia<br />
Keywords silhouettes, perceptual<br />
constancy, visual closure, visual<br />
system, realism<br />
› Top-down and bottom-up approaches to actor tra<strong>in</strong><strong>in</strong>g, Journal of Visual Art<br />
Practice, 6.2, 155-.<br />
Rosie Meade is a lecturer <strong>in</strong> the School of Applied Social Studies,<br />
University College Cork. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the politics of<br />
community development, Irish social movements, alternative media,<br />
the cultural politics of resistance and issues related to globalization.<br />
She is also a board member and jo<strong>in</strong>t reviews editor at the Community<br />
Development Journal. In 2007 she and Mae Shaw edited a special issue<br />
of the Community Development Journal that explored issues of cultural<br />
democracy and the potential of the arts to re-animate community<br />
development practice. In 2009 she edited with Elizabeth Kiely and<br />
Cather<strong>in</strong>e Forde, Youth and Community Work <strong>in</strong> Ireland: Critical<br />
Perspectives.<br />
› Community development and the arts: Susta<strong>in</strong><strong>in</strong>g the democratic imag<strong>in</strong>ation<br />
<strong>in</strong> lean and mean times, Journal of <strong>Arts</strong> & Communities, 2.1, 65-80.<br />
Stuart Medley’s comics have been published <strong>in</strong> Deanne Cheuk’s and<br />
magaz<strong>in</strong>es. In addition, Medley was the editor of SiC BAG comics,<br />
now <strong>in</strong> the Michael Hill Collection at the Australian National Library.<br />
He currently lectures <strong>in</strong> graphic design <strong>in</strong> Australia and New Zealand.<br />
He has spoken at various conferences <strong>in</strong>clud<strong>in</strong>g TypoGraphic2005,<br />
Lebanon, and the NewViews2 2008 conference at the LCC <strong>in</strong> London.<br />
His writ<strong>in</strong>g about design has been published by the Australasian<br />
Medical Journal. Medley’s work on <strong>in</strong>formation design was selected as<br />
<strong>research</strong> excellence by the Australian Council of University Art and<br />
Design Schools, 2009. He is the designer for Hidden Shoal Record<strong>in</strong>gs,<br />
a critically acclaimed record label with a roster of <strong>in</strong>ternational artists.<br />
He has a Ph.D based on the paradox that less realism allows more<br />
accurate communication.<br />
› Discern<strong>in</strong>g pictures: how we look at and understand images <strong>in</strong> comics,<br />
Studies <strong>in</strong> Comics, 1.1, 53-70.<br />
Christoph Me<strong>in</strong>el Prof. Dr. Christoph Me<strong>in</strong>el is CEO and President of Hasso Plattner<br />
Institute for IT-Systems Eng<strong>in</strong>eer<strong>in</strong>g (HPI) and Professor of Internet
Hasso-Plattner-Institut für<br />
Softwaresystemtechnik GmbH, Prof-<br />
Dr-Helmert-Str. 2–3, Potsdam, 14482,<br />
Germany<br />
Keywords design discourses, metadiscipl<strong>in</strong>e,<br />
creative collaboration,<br />
wicked problems, design cognition<br />
Gav<strong>in</strong> Melles<br />
Sw<strong>in</strong>burne University of Technology,<br />
Faculty of Design, Build<strong>in</strong>g PA, 144<br />
High Street, Prahran Campus,<br />
Victoria, 3181, Australia<br />
Keywords design process, design<br />
activities, activity theory academic<br />
literacy, design <strong>research</strong><br />
Technologies and Systems at the University of Potsdam. He is also a<br />
visit<strong>in</strong>g professor at the School of Computer Science of the Technical<br />
University of Beij<strong>in</strong>g and at the Luxembourg Institute of Advanced<br />
Studies <strong>in</strong> Information Technology at the University of Luxembourg.<br />
Under his leadership, the HPI School ofDesign Th<strong>in</strong>k<strong>in</strong>g opened <strong>in</strong><br />
2007. S<strong>in</strong>ce 2008, he is co-program director of the HPI-Stanford<br />
Design Th<strong>in</strong>k<strong>in</strong>g Research Program. Also, he is author and co-author<br />
of eight books, one about Design Th<strong>in</strong>k<strong>in</strong>g. A mathematician by<br />
tra<strong>in</strong><strong>in</strong>g, Christoph Me<strong>in</strong>el received his graduate degree, doctorate, and<br />
postdoctoral degree (Habilitation) from Humboldt University <strong>in</strong> Berl<strong>in</strong>,<br />
Germany.<br />
› Evolv<strong>in</strong>g discourses on design th<strong>in</strong>k<strong>in</strong>g: how design cognition <strong>in</strong>spires metadiscipl<strong>in</strong>ary<br />
creative collaboration, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.1, 31-37.<br />
Dr. Gav<strong>in</strong> Melles is lecturer <strong>in</strong> the Faculty of Design, Sw<strong>in</strong>burne<br />
University (Australia). He teaches academic writ<strong>in</strong>g to staff and<br />
students, supervises <strong>research</strong> students <strong>in</strong> design and eng<strong>in</strong>eer<strong>in</strong>g. He is<br />
on the editorial board of several journals and <strong>in</strong>volved <strong>in</strong> a number of<br />
<strong>research</strong> projects with European partners. His background is <strong>in</strong><br />
anthropological l<strong>in</strong>guistics (Masters by Research) and Education<br />
(Doctor of Education). His <strong>research</strong> publications are <strong>in</strong> the areas of<br />
pedagogy <strong>in</strong> discipl<strong>in</strong>e specific areas, <strong>research</strong> methodologies, and<br />
educational <strong>research</strong> more broadly.<br />
› Visually mediat<strong>in</strong>g knowledge construction <strong>in</strong> project-based doctoral design<br />
<strong>research</strong>, Art, Design & Communication <strong>in</strong> Higher Education, 6.2, 99-112.<br />
› Produc<strong>in</strong>g fact, affect and identity <strong>in</strong> architecture critiques – a discourse<br />
analysis of student and faculty discourse <strong>in</strong>teraction, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 6.3, 159-171.<br />
› Graphic designers' activities dur<strong>in</strong>g the conceptual design phase of client<strong>in</strong>itiated<br />
projects Report of <strong>research</strong> <strong>in</strong> progress, reflection on the <strong>research</strong><br />
process, Art, Design & Communication <strong>in</strong> Higher Education, 8.1, 85-92.<br />
› The relevance and consequences of academic literacies for pedagogy and<br />
<strong>research</strong> <strong>in</strong> practice-based postgraduate design, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 1.3, 261-273.<br />
› Editorial, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.1, 3-4.<br />
› Editorial, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.2, 95-96.<br />
› Everyday Practice as Design, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.2,<br />
149-159.
Talan Memmott<br />
Blek<strong>in</strong>ge Institute of Technology,<br />
Campus Gräsvik (Valhallav. 1),<br />
Blek<strong>in</strong>ge Tekniska Högskola, 371 79<br />
Karlskrona, Sweden<br />
Keywords digital media, electronic<br />
literature, digital art, literary<br />
hypermedia<br />
María Mencía<br />
K<strong>in</strong>gston University, School of <strong>Arts</strong><br />
and Social Sciences, Surrey<br />
Keywords new media, poetry,<br />
literature, sound-generated poems,<br />
net.art<br />
Maria Mendona<br />
Kenyon College, Music and<br />
Anthropology Departments, Storer<br />
Talan Memmott is Assistant Professor of Digital Media and Culture <strong>in</strong><br />
the Digital Culture and Communications programme at Blek<strong>in</strong>ge<br />
Institute of Technology, and an <strong>in</strong>ternationally known practitioner of<br />
electronic literature and digital art with a practice rang<strong>in</strong>g from<br />
experimental video to digital performance applications and literary<br />
hypermedia. His work is widely available on the Internet, and has been<br />
<strong>in</strong>cluded <strong>in</strong> electronic anthologies, has featured at festivals and<br />
conferences, and has been the subject of numerous critical texts. His<br />
current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude digital poetics, practice-based<br />
<strong>research</strong> methods, and digital media pedagogy <strong>in</strong> the humanities.<br />
Memmott holds an M.F.A. <strong>in</strong> Literary <strong>Arts</strong>/Electronic Literature from<br />
Brown University and is complet<strong>in</strong>g a Ph.D. <strong>in</strong> Interaction Design at<br />
Malmö University.<br />
› Codework: Phenomenology of an anti-genre, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 4.1, 93-105.<br />
María Mencía is an artist and senior lecturer <strong>in</strong> Media and Culture and<br />
Digital Media at the School of <strong>Arts</strong> and Social Sciences at K<strong>in</strong>gston<br />
University. She holds a practice-led doctorate <strong>in</strong> Digital Poetics and<br />
Digital Art. Her practice-led <strong>research</strong> <strong>in</strong> language-driven new media<br />
art/ poetry/ literature <strong>in</strong>cludes <strong>in</strong>teractive <strong>in</strong>stallations, net.art, soundgenerated<br />
poems and <strong>in</strong>teractive generative narratives. She has been<br />
awarded various <strong>research</strong> grants to collaborate at <strong>in</strong>ternational<br />
universities such as New York University, Royal Melbourne Institute<br />
of Technology and The University of Sydney, and has presented and<br />
exhibited <strong>in</strong>ternationally at festivals such as the International<br />
Symposium on Electronic Art (ISEA), onedotzero, Electronic<br />
Language InternationalFestival (FILE), International Contemporary Art<br />
Fair (ARCO), Computers <strong>in</strong> Art and Design Education (CADE) and<br />
TATE Modern.<br />
› From the page to the screen to augmented reality: New modes of languagedriven<br />
technology-mediated <strong>research</strong>, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 4.1, 3-7.<br />
› Connected memories: Contextualiz<strong>in</strong>g creative <strong>research</strong> practice, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 4.1, 37-51.<br />
Maria Mendona is Assistant Professor <strong>in</strong> Asian Music and Culture <strong>in</strong><br />
the Music and Anthropology Departments at Kenyon College. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Indonesian music (particularly gamelan<br />
traditions of Java and Sunda), globalization of culture, and music and
Hall, Gambier, Ohio, 43022, United<br />
States of America<br />
Keywords education, gamelan,<br />
rehabilitation, music, prison<br />
Usha Menon<br />
University College London, UCL<br />
Elizabeth Garrett Institute for<br />
Women’s Health, Maple House, 149<br />
Tottenham Court Road, London,<br />
WC1T 7DN, United K<strong>in</strong>gdom<br />
Keywords art therapy, gynaecology,<br />
well-be<strong>in</strong>g measures<br />
Kerst<strong>in</strong> Mey<br />
University of Ulster, School of Art<br />
and Design, Monkstown,<br />
Newtownabbey, BT37 0, United<br />
K<strong>in</strong>gdom<br />
Keywords art theory, sense<br />
perception, sight, aesthetic<br />
experience, aesthetic understand<strong>in</strong>g<br />
Christian Mieves<br />
United K<strong>in</strong>gdom<br />
Keywords art, beach, space<br />
prisons. She has worked as an ethnomusicologist <strong>in</strong> a variety of sett<strong>in</strong>gs<br />
<strong>in</strong> the United States and the United K<strong>in</strong>gdom, <strong>in</strong>clud<strong>in</strong>g<br />
Ethnomusicology Editor for the 2001 edition of The New Grove<br />
Dictionary of Music and Musicians, as well as advis<strong>in</strong>g and lead<strong>in</strong>g<br />
projects <strong>in</strong>volv<strong>in</strong>g gamelan performance and education for a range of<br />
British arts <strong>in</strong>stitutions, <strong>in</strong>clud<strong>in</strong>g the South Bank Centre, St David’s<br />
Hall, Cardiff, and the Hallé Orchestra.<br />
› Prison, music and the rehabilitation revolution: The case of Good Vibrations,<br />
Journal of Applied <strong>Arts</strong> & Health, 1.3, 295-307.<br />
Usha Menon is Professor of Gynaecological Cancer and Head of the<br />
Gynaecological Cancer Research Centre at UCL Institute for Women’s<br />
Health, and Consultant Gynaecologist for UCLH NHS Trust, London.<br />
She is pr<strong>in</strong>cipal <strong>in</strong>vestigator on the UK ovarian cancer screen<strong>in</strong>g trials.<br />
› Evaluat<strong>in</strong>g the therapeutic effects of museum object handl<strong>in</strong>g with hospital<br />
patients: A review and <strong>in</strong>itial trial of well-be<strong>in</strong>g measures, Journal of Applied<br />
<strong>Arts</strong> & Health, 2.1, 37-56.<br />
Kerst<strong>in</strong> Mey, Ph.D., MA, holds a Chair <strong>in</strong> F<strong>in</strong>e Art and leads the<br />
<strong>research</strong> zone ‘Art and its Locations’ <strong>in</strong> Interface: Centre for Research<br />
<strong>in</strong> Art, Technologies and Design, <strong>in</strong> the School of Art and Design,<br />
University of Ulster. She is manag<strong>in</strong>g editor of transcript, a series of<br />
books on contemporary visual culture published by Manchester<br />
University Press <strong>in</strong> association with the School of F<strong>in</strong>e Art, Duncan of<br />
Jordanstone College of Art and Design, University of Dundee.<br />
› On-Site/In-Sight, Journal of Visual Art Practice, 4.2, 67-82.<br />
Christian Mieves is an artist and academic based <strong>in</strong> the North East of<br />
England. He co-organized the 2009 Revisit<strong>in</strong>g the Beach conference at<br />
Newcastle University (http://conferences.ncl.ac.uk/beachconference/).<br />
He holds a Ph.D. <strong>in</strong> F<strong>in</strong>e Art and an MFA from Newcastle University<br />
(UK), both funded by the AHRC (<strong>Arts</strong> and Humanities<br />
ResearchCouncil). His pa<strong>in</strong>t<strong>in</strong>gs have been shown at exhibitions <strong>in</strong>
Adetty Pérez Miles<br />
The Pennsylvania State University,<br />
School of Visual <strong>Arts</strong>, 207 <strong>Arts</strong><br />
Cottage, University Park,<br />
Pennsylvania, PA 16802-2905,<br />
United States of America<br />
Keywords Juárez murders,<br />
postcolonial encounters, Lourdes<br />
Portillo, critical pedagogy, art<br />
education<br />
Malcolm Miles<br />
University of Plymouth, Plymouth,<br />
PL4 8AA, United K<strong>in</strong>gdom<br />
Keywords cultural theory, art<br />
education, urbanism, contemporary<br />
art, global space, politics<br />
Germany, Mexico, Spa<strong>in</strong> and the United K<strong>in</strong>gdom. He has written on<br />
issues of exoticism, cannibalism, heterotopias and the beach <strong>in</strong> the<br />
work of Dana Schutz and the trope of fragmentation <strong>in</strong> Luc Tuymans.<br />
He is currently work<strong>in</strong>g on a large project on the subject of ‘erosion’ <strong>in</strong><br />
contemporary art.<br />
› Introduction, Journal of Visual Art Practice, 9.3, 199-209.<br />
› Traces and Erosion: A Case Study of the Beach <strong>in</strong> Contemporary Art<br />
Mak<strong>in</strong>g, Journal of Visual Art Practice, 9.3, 273-290.<br />
Adetty Pérez Miles is a doctoral candidate <strong>in</strong> art education and<br />
women’s studies at The Pennsylvania State University. Her <strong>research</strong><br />
focuses on critical fem<strong>in</strong>ist and postcolonial <strong>in</strong>quiry <strong>in</strong> visual culture,<br />
specifically Lat<strong>in</strong> American film, performance, and <strong>in</strong>stallation art.<br />
Pérez Miles teaches Introduction to Visual <strong>Arts</strong>, Diversity, Pedagogy,<br />
and Visual Culture, The Visual <strong>Arts</strong> <strong>in</strong> the Elementary School, and<br />
Introduction to Women’s Studies at Penn State University.<br />
› Lourdes Portillo's Señorita Extraviada: hegemonic power, gender and murder<br />
(fem<strong>in</strong>icidio) <strong>in</strong> the Mexican-US frontera, International Journal of Education<br />
through Art, 2.1, 5-16.<br />
Malcolm Miles is Professor of Cultural Theory <strong>in</strong> the Faculty of <strong>Arts</strong> at<br />
the University of Plymouth, United K<strong>in</strong>gdom. He co-chairs the<br />
Culture-Theory-Space <strong>research</strong> group (located <strong>in</strong> the School of<br />
Architecture); supervises doctoral <strong>research</strong> between critical theory and<br />
contemporary culture and urbanism; contributes to doctoral workshops<br />
on <strong>research</strong> methods <strong>in</strong> the arts; and carries out <strong>research</strong> for<br />
publication. His ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terest is <strong>in</strong> the development of critical<br />
theories of culture and society s<strong>in</strong>ce the mid twentieth century, <strong>in</strong><br />
relation to contemporary art and urban change. With<strong>in</strong> this are<br />
questions around the extent to which the utopian content of modernism<br />
can be salvaged; the need to develop critical theory <strong>in</strong> a period of<br />
global cultures; and the cross-currents of a post-socialist Eastern<br />
Europe. He reta<strong>in</strong>s a long-term <strong>in</strong>terest <strong>in</strong> questions of pictorial space<br />
and the <strong>in</strong>sights on art offered by psychoanalytic as well as political<br />
approaches.<br />
› Viral Art – strategies for a new democracy, Journal of Visual Art Practice,<br />
1.2, 71-79.<br />
› Break<strong>in</strong>g the Circles of Uncerta<strong>in</strong>ty, Journal of Visual Art Practice, 2.1, 18-
Kathy Miraglia<br />
Keywords <strong>in</strong>tegration, expeditionary<br />
learn<strong>in</strong>g, environment, susta<strong>in</strong>ability<br />
Eva Miranda<br />
University of Paris 1 Pantheon-<br />
Sorbonne, UFR 04, 47 rue des<br />
Berges, Paris, 75015, France<br />
Keywords draw<strong>in</strong>g process, graphic<br />
components, trans-cultural<br />
commonalities, cognition<br />
Adrielle Mitchell<br />
Nazareth College, English, English<br />
Department, 4245 East Ave,<br />
Rochester, NY, 14618, United States<br />
of America<br />
Keywords figurative realm, nonl<strong>in</strong>ear<br />
read<strong>in</strong>g, iconic solidarity, selfrepresentation,<br />
graphic memoirs,<br />
comics studies, graphic novels, image<br />
25.<br />
Kathy Marzilli Miraglia is an Associate Professor of Art Education at<br />
the University of Massachusetts Dartmouth and Chairperson of the<br />
Department of Art Education. She has published <strong>in</strong> Visual <strong>Arts</strong><br />
Research, Educational Leadership onl<strong>in</strong>e, and Art Education. She has<br />
delivered numerous papers and presentations at <strong>in</strong>ternational, national<br />
and state conferences. Her <strong>research</strong> focuses on <strong>in</strong>terdiscipl<strong>in</strong>ary studies,<br />
<strong>in</strong>tegrated curriculum and teacher education and preparation. She is<br />
also an exhibit<strong>in</strong>g artist. Her figurative pa<strong>in</strong>t<strong>in</strong>gs and draw<strong>in</strong>gs focus<br />
on women's stories.<br />
› Lessons learned from the landscape: an <strong>in</strong>tegrated approach, International<br />
Journal of Education through Art, 5.2&3, 169-185.<br />
Eva Rolim Miranda is a graphic designer, <strong>in</strong>terested <strong>in</strong> <strong>research</strong> <strong>in</strong>to<br />
visual culture and communication through images. She is associate<br />
<strong>research</strong>er of the InformationDesign Research Group <strong>in</strong> Brazil and also<br />
the Centre de Recherche Images, Cultures et Cognitions (CRICC). She<br />
has a Masters degree <strong>in</strong> Information Design from the Federal<br />
University of Pernambuco and is currently <strong>in</strong> her second year of<br />
doctoral studies at the Université Panthéon Sorbonne - Paris 1.<br />
› Children's processes of draw<strong>in</strong>g from memory: a trans-cultural study <strong>in</strong><br />
France and Brazil, International Journal of Education through Art, 4.1, 57-<br />
73.<br />
Adrielle Anna Mitchell is an Associate Professor of English at<br />
Nazareth College, Rochester, NY, United States, where she regularly<br />
offers a course <strong>in</strong> ‘International Graphic Narrative’. A Modernist by<br />
tra<strong>in</strong><strong>in</strong>g (1995 Ph.D. dissertation at the University of California, Santa<br />
Cruz: ‘The Pla<strong>in</strong> Reader be Damned: Confusion as Method <strong>in</strong> the<br />
Works of Djuna Barnes’), and a generalist by preference (with <strong>in</strong>terests<br />
<strong>in</strong> the areas of experimental literature, cultural and gender studies, text<br />
and image, non-fiction graphic narratives and memory studies), she has<br />
turned her scholarly attention exclusively to comics studies s<strong>in</strong>ce 2006.
and text Recent publications <strong>in</strong> the field <strong>in</strong>clude ‘Spectral Memory, Sexuality<br />
and Inversion: An Arthrological Study of Alison Bechdel’s Fun Home:<br />
A Family Tragicomic (ImageText)’; ‘Graphic Journeys: Figur<strong>in</strong>g<br />
Americans Abroad <strong>in</strong> Thompson’s Carnet de Voyage and Abel’s La<br />
Perdida’ ( The CEA Critic).<br />
Roanna Mitchell<br />
Drama department at the University<br />
of Kent<br />
Keywords<br />
Kazuji Mogi<br />
Gunma University, Faculty of<br />
education, 4-2 Aramaki-Machi, Mae-<br />
Bashi-Shi, Gunma, 371-8510, Japan<br />
Keywords Japanese art history,<br />
media, workshops, social<br />
constructivism, situated learn<strong>in</strong>g<br />
Javier Abad Mol<strong>in</strong>a<br />
Universidad Automa de Madrid, c/<br />
Virtudes nº3, 2ºB, 28010 Madrid,<br />
Spa<strong>in</strong><br />
Keywords public art, collaboration,<br />
› Distributed identity: network<strong>in</strong>g image fragments <strong>in</strong> graphic memoirs,<br />
Studies <strong>in</strong> Comics, 1.2, 257-279.<br />
Roanna Mitchell is Ph.D. candidate and Associate Lecturer <strong>in</strong> the<br />
Drama department at the University of Kent, and Artistic Director of<br />
Endangered Species.<br />
› CONFERENCE REPORT, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 223-<br />
230.<br />
Kazuji Mogi is Associate Professor of Art Education <strong>in</strong> the Faculty of<br />
Education at Gunma University, Japan. He received an MA <strong>in</strong> <strong>Arts</strong><br />
from the University of Tsukuba and a Ph.D <strong>in</strong> Design from Kyushu,<br />
Institute of Design. His <strong>research</strong> <strong>in</strong>vestigates the foundations of<br />
education <strong>in</strong> art, design and craft. Recently he has studied the<br />
workshop as a collaborative learn<strong>in</strong>g system for a new way of art<br />
learn<strong>in</strong>g for the <strong>in</strong>formation age. He presented papers on 'Basic<br />
knowledge <strong>in</strong> art education' and 'The implications of mediatechnology-based<br />
workshops for art education for all' at the 32nd<br />
International InSEA Congress, Viseu, Portugal <strong>in</strong> 2006.<br />
› The Narikiri Emaki (picture scroll) project, International Journal of<br />
Education through Art, 4.1, 7-27.<br />
Javier Abad is a visual artist and art education lecturer at University<br />
College La Salle at the Autonomous University of Madrid. He<br />
collaborates with the Yehudi Menuh<strong>in</strong> Foundation <strong>in</strong> Spa<strong>in</strong> and is a<br />
member of Enter-Arte, grupo de los Movimientos de Renovación<br />
Pedagógica de Acción Educativa. He is also a member of the<br />
Organization of Lat<strong>in</strong> American States and of Equipo de Formación<br />
Regional de la Comunidad de Madrid. At the present time he is
education, sense of place complet<strong>in</strong>g a doctoral thesis <strong>in</strong>vestigat<strong>in</strong>g processes of participation<br />
and <strong>in</strong>clusion and explor<strong>in</strong>g relationships between the distribution of<br />
academic space, symbolic games and relational aesthetics.<br />
Francesco Monico<br />
Nouvo Accademia di Belle Arti<br />
(NABA), Vi C. Darw<strong>in</strong> 20, Milan,<br />
20143, Italy<br />
Keywords syncretic, virtual reality,<br />
Gnostic, Matrix, technological<br />
adaptation<br />
Lucy Montgomery<br />
Queensland University of Technology<br />
Keywords <strong>in</strong>tellectual property,<br />
creative <strong>in</strong>dustries, economic<br />
evolution, Ch<strong>in</strong>a<br />
Jenny Moon<br />
Bournemouth Media school, Centre<br />
› Escribir el Lugar: collaborative projects <strong>in</strong> public spaces, International<br />
Journal of Education through Art, 4.2, 195-206.<br />
Francesco Monico started as second director, programme assistant,<br />
director and author for Italian broadcast companies. He is work<strong>in</strong>g on<br />
some of the few <strong>in</strong>novative Italian TV projects, such as new k<strong>in</strong>ds of<br />
media magaz<strong>in</strong>es and TV channels. He has taught Mass Media Theory<br />
s<strong>in</strong>ce 1996, and was <strong>in</strong>vited with a grant to study media at the<br />
McLuhan Program <strong>in</strong> Culture and Technology <strong>in</strong> Toronto. He is<br />
currently a professor and Head of the Media Design Faculty at the<br />
Nuova Accademia di Belle Arti di Milan. He is a member of the<br />
Scientific Committee of the Science and Technology Museum<br />
Leonardo da V<strong>in</strong>ci <strong>in</strong> Milan. His <strong>research</strong> is focused on the artist’s role<br />
<strong>in</strong> the <strong>in</strong>formation society, and he is develop<strong>in</strong>g a cultural studies<br />
survey of relationships between media, technology and culture.<br />
› White rabbit on the moon, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 4.2, 141-150.<br />
› TAFKAV a Technoetic Installation, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 7.3, 249-274.<br />
Lucy Montgomery is a post-doctoral <strong>research</strong> fellow <strong>in</strong> the ARC<br />
Federation Fellowship programme at the ARC Centre of Excellence for<br />
Creative Industries and Innovation, Queensland University of<br />
Technology and an honorary visit<strong>in</strong>g <strong>research</strong> fellow at City University<br />
London.<br />
› Does weaker copyright mean stronger creative <strong>in</strong>dustries? Some lessons from<br />
Ch<strong>in</strong>a, Creative Industries Journal, 1.3, 245-261.<br />
Jenny Moon is a senior lecturer at Bournemouth University. She has<br />
worked <strong>in</strong> education health and professional development <strong>in</strong> higher<br />
education for most of her career. In recent years, her focus has been on
for Excellence <strong>in</strong> Media Practice,,<br />
United K<strong>in</strong>gdom<br />
Keywords learn<strong>in</strong>g, reflection,<br />
critical th<strong>in</strong>k<strong>in</strong>g, methods for<br />
support<strong>in</strong>g learn<strong>in</strong>g, professional<br />
development<br />
Kathryn Moore<br />
Birm<strong>in</strong>gham City University, School<br />
of Architecture and Design,<br />
Edgbaston, Birm<strong>in</strong>gham, B15 2TT,<br />
United K<strong>in</strong>gdom<br />
Keywords visual th<strong>in</strong>k<strong>in</strong>g, art<br />
education, design education, sense<br />
perception, <strong>in</strong>telligence<br />
Francesco Morace<br />
Future Concept Lab, Milan<br />
Keywords creativity, craft, consumauthors,<br />
everyday culture, basic<br />
fashion<br />
Cynthia M. Morawski<br />
University of Ottowa, Department of<br />
pedagogy, with a focus on how humans learn (reflective learn<strong>in</strong>g,<br />
critical th<strong>in</strong>k<strong>in</strong>g, the learn<strong>in</strong>g of non-traditional students etc). She<br />
worked for five years on educational development at the University of<br />
Exeter and now has a part time post at Bournemouth University <strong>in</strong> the<br />
Centre for Excellence <strong>in</strong> Media Practice.<br />
› The use of graduated scenarios to facilitate the learn<strong>in</strong>g of complex and<br />
difficult-to- describe concepts, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 8.1, 57-70.<br />
Kathryn Moore is Professor of Landscape Architecture at the School of<br />
Landscape and Architecture, Faculty of Built Environment, University<br />
of Central England and Adjunct Professor <strong>in</strong> the Department of<br />
Landscape Architecture, University of Manitoba, Canada. She is<br />
currently President of the Landscape Institute and has published widely<br />
on design education and the reconceptualization of visual skill.<br />
› Visual th<strong>in</strong>k<strong>in</strong>g: hidden truth or hidden agenda?, Journal of Visual Art<br />
Practice, 4.2, 177-196.<br />
Francesco Morace is a sociologist, writer and journalist <strong>who</strong> has been<br />
work<strong>in</strong>g <strong>in</strong> market <strong>research</strong> s<strong>in</strong>ce the 1980s. He is the president of the<br />
<strong>in</strong>novative market <strong>research</strong> company Future Concept Lab which has<br />
been s<strong>in</strong>ce 1989 a pioneer <strong>in</strong> its field both <strong>in</strong> Italy and abroad. It was<br />
the first company to set up a network of cult <strong>research</strong>ers <strong>in</strong> cities<br />
worldwide to follow and observe trends connected to daily life,<br />
cloth<strong>in</strong>g, food products, life styles and m<strong>in</strong>d styles. Future Concept Lab<br />
(FCL) of Milan <strong>in</strong>tegrates global values based on a genius loci (spirit of<br />
the place) approach, and local behaviours collected us<strong>in</strong>g the street &<br />
body signals method – <strong>in</strong>to a comb<strong>in</strong>ed system of the M<strong>in</strong>dStyles.<br />
› The dynamics of luxury and basic-ness <strong>in</strong> post-crisis fashion, Critical Studies<br />
<strong>in</strong> Fashion & Beauty, 1.1, 87-112.<br />
Cynthia Morawski, a graduate of Columbia University Teachers’<br />
College, is an associate professor <strong>in</strong> the Faculty of Education,<br />
University of Ottawa, where she teaches <strong>in</strong>tegrated language/arts,
Education, Lamoureux Hall (LMX),<br />
145, Jean-Jacques-Lussier Private,<br />
Ottowa, Ontario, K1N 6N5, Canada<br />
Keywords arts-based education,<br />
women’s lives, auto-ethnography<br />
Greg More<br />
Royal Melbourne Institute of<br />
Technology University (RMIT),<br />
Australia, GPO Box 2476, VIC 3001,<br />
Australia<br />
Keywords architecture, contemporary<br />
culture, video games, technology for<br />
education<br />
Sally J. Morgan<br />
Massey University, School of F<strong>in</strong>e<br />
<strong>Arts</strong>, PO Box 756, Well<strong>in</strong>gton, 6140,<br />
New Zealand<br />
Keywords postmodernism, paradigm<br />
shift, fragmentation, specialist<br />
discourse, subversion<br />
special education, literacy and children’s literature. Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude arts- based literacy, bibliotherapy, teach<strong>in</strong>g narratives,<br />
livesof women, and learn<strong>in</strong>g differences.<br />
› The art of embodiment: auto-ethnographic portraits of two women’s surgical<br />
traumas, International Journal of Education through Art, 4.3, 315-323.<br />
Greg More is a Senior Lecturer at RMIT University, Melbourne,<br />
Australia, with<strong>in</strong> RMIT’s Spatial Information Architecture Laboratory<br />
(SIAL), School of Architecture + Design. More is <strong>in</strong>terested <strong>in</strong> the<br />
synthetic spaces of contemporary culture where exchange between<br />
material and digital economies transform the relationship between the<br />
subject and architecture. In recent years More has been <strong>research</strong><strong>in</strong>g,<br />
develop<strong>in</strong>g and teach<strong>in</strong>g video-game technology for design and artistic<br />
purposes. His design work has been exhibited at the Museum of<br />
Modern Art New York, selected for OneDotZero and Resfest<br />
<strong>in</strong>ternational film festivals, and featured <strong>in</strong> a range of <strong>in</strong>ternational<br />
architecture and design biennale and publications. Greg More is also<br />
the founder of OOM Creative – a digital environments design<br />
consultancy – specializ<strong>in</strong>g <strong>in</strong> <strong>in</strong>formation visualization and digital<br />
environment design.<br />
› Notational Design Vision ;My persistent world, Design Ecologies, 1.1, 57-<br />
74.<br />
Sally J. Morgan is Professor of F<strong>in</strong>e <strong>Arts</strong> at Massey University,<br />
Well<strong>in</strong>gton, New Zealand. She is an artist and cultural historian <strong>who</strong><br />
has had work published on contextual f<strong>in</strong>e art, memory and<br />
monuments, and the visual as public history. Her <strong>research</strong> has a<br />
number of dimensions <strong>in</strong>clud<strong>in</strong>g a f<strong>in</strong>e art practice based on pa<strong>in</strong>t<strong>in</strong>g,<br />
performance and <strong>in</strong>stallation as well as a scholarly practice geared<br />
around social history, cultural studies, art theory and pedagogy. Sally is<br />
a regular contributor to <strong>in</strong>ternational peer-reviewed journals and<br />
collections. She has had susta<strong>in</strong>ed recognition at <strong>in</strong>ternational level<br />
<strong>in</strong>clud<strong>in</strong>g a major performance project for the ICA London. Her work<br />
was cited by the <strong>Arts</strong> Council of Great Brita<strong>in</strong> as 'the best of<br />
Performance Art' <strong>in</strong> the ’90s, and represented the United K<strong>in</strong>gdom at<br />
Fribourg International Festival, Switzerland.<br />
› A Term<strong>in</strong>al Degree: f<strong>in</strong>e art and the PhD, Journal of Visual Art Practice, 1.1,<br />
6-15.
Nigel Morgan<br />
The University of Wales Institute,<br />
Cardiff, Welsh Centre for Tourism<br />
Research, Cardiff School of<br />
Management, The University of<br />
Wales Institute, Cardiff, CF5 2SG,<br />
United K<strong>in</strong>gdom<br />
Keywords temporality, materiality,<br />
web-based artefacts, open source<br />
software, Active Notation<br />
Jess Moriarty<br />
The University of Brighton, School of<br />
Humanities, University of Brighton,<br />
Checkland Build<strong>in</strong>g, Falmer,<br />
Brighton, BN1 9PH, United K<strong>in</strong>gdom<br />
Keywords creative practice, personal<br />
development, creative writ<strong>in</strong>g<br />
Simon Morley<br />
University of Southampton,<br />
W<strong>in</strong>chester School of Art, Park<br />
Avenue, W<strong>in</strong>chester, SO23 8DL,<br />
United K<strong>in</strong>gdom<br />
Keywords iconoclasm, Rothko, theoaesthetic,<br />
censor<strong>in</strong>g and veil<strong>in</strong>g,<br />
Taoism and Buddhism<br />
› Beautiful impurity, Journal of Visual Art Practice, 2.3, 135-144.<br />
Nigel Morgan is Professor of Tourism Studies at Cardiff School of<br />
Management’s Welsh Centre for Tourism Research at the University of<br />
Wales Institute, Cardiff. He is passionately <strong>in</strong>terested <strong>in</strong> the<br />
connections between tourism, social justice, identity and place and has<br />
written or edited fifteen books <strong>in</strong> these areas, the latest be<strong>in</strong>g<br />
Dest<strong>in</strong>ation Brands: Manag<strong>in</strong>g Place Reputation (Elsevier, 2011).<br />
› Music and textiles <strong>in</strong>teract, Craft Research, 1.1, 39-61.<br />
Jess Moriarty is a Senior Lecturer <strong>in</strong> the School of Humanities at the<br />
University of Brighton. She is currently f<strong>in</strong>ish<strong>in</strong>g her thesis, which<br />
comb<strong>in</strong>es academic <strong>research</strong> and an anthology of autobiographical<br />
poems and a radio play.<br />
› CLTAD International Conference, 1213 April 2010, Berl<strong>in</strong> Creative<br />
partnerships: Help<strong>in</strong>g creative writ<strong>in</strong>g and visual practice students to make<br />
l<strong>in</strong>ks between their creative processes and their personal, vocational and<br />
academic development, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 285-<br />
298.<br />
Simon Morley is Lecturer <strong>in</strong> F<strong>in</strong>e Art and Programme Leader, MA <strong>in</strong><br />
F<strong>in</strong>e Art at W<strong>in</strong>chester School of Art, University of Southampton. His<br />
special <strong>in</strong>terests are the <strong>in</strong>teraction between word and image, the<br />
sublime, abstract art. Over the last ten years he has exhibited his<br />
pa<strong>in</strong>t<strong>in</strong>gs <strong>in</strong>ternationally. Author of Writ<strong>in</strong>g on the Wall: Word and<br />
Image <strong>in</strong> Modern Art (Thames & Hudson/California University Press,<br />
2003) and Documents <strong>in</strong> Contemporary Art: The Sublime (Whitechapel<br />
Art Gallery/MIT Press, 2010).<br />
› Pa<strong>in</strong>t<strong>in</strong>g the page, Journal of Visual Art Practice, 8.1&2, 141-159.
Christ<strong>in</strong>e Ballengee<br />
Morris<br />
The Ohio State University, 351 B<br />
Hopk<strong>in</strong>s Hall, 128 North Oval Mall,<br />
Columbus, OH, 43210, United States<br />
of America<br />
Keywords heritage, economic policy,<br />
identity, representation, craft<br />
Janne Morton<br />
University of Melbourne, Department<br />
of L<strong>in</strong>guistics and Applied<br />
L<strong>in</strong>guistics, Parkville, Victoria, 3052,<br />
Australia<br />
Keywords architectural design<br />
education, student presentations,<br />
visual analysis, multimodal semiosis<br />
Timothy Morton<br />
The University of California<br />
Keywords<br />
Christ<strong>in</strong>e Ballengee-Morris is Associate Professor <strong>in</strong> the Art Education<br />
Department and American Indian Studies Coord<strong>in</strong>ator at the Ohio State<br />
University. She is past president of the United States Society for<br />
Teach<strong>in</strong>g Through Art. She is tra<strong>in</strong>ed to lead social justice workshops<br />
and mediation and has served <strong>in</strong> those positions for several companies,<br />
universities, departments, and community organizations. She is a<br />
Cherokee-Appalachian. She has received the 2008 National Art<br />
Education Higher Education, Western Division Award; the 2007<br />
Ziegfeld Award for Diversity; the 2006 National Art Education<br />
Grigsby Award (<strong>research</strong> <strong>in</strong> and commitment to diversity); the 2000<br />
OSU-Newark Research and Service Award; and the NAACP Lick<strong>in</strong>g<br />
County, Ohio’s Young Native American Woman Leadership Award.<br />
› Culture, identity, representation: the economic policies of heritage tourism,<br />
International Journal of Education through Art, 5.2&3, 129-142.<br />
Janne Morton works as a lecturer <strong>in</strong> the School of Languages and<br />
L<strong>in</strong>guistics at the University of Melbourne. She teaches communication<br />
skills and English for Academic Purposes. Her current <strong>research</strong><br />
<strong>in</strong>terests are oral communication pedagogy, academic literacy, and<br />
genre theory. She is currently work<strong>in</strong>g on a Ph.D. on<br />
the socialization of students <strong>in</strong>to architectural discourse.<br />
› The <strong>in</strong>tegration of images <strong>in</strong>to architecture presentations: a semiotic analysis,<br />
Art, Design & Communication <strong>in</strong> Higher Education, 5.1, 21-38.<br />
Timothy Morton is Professor of English (Literature and the<br />
Environment) at the University of California, Davis. He is the author of<br />
The Ecological Thought (Harvard UP, 2010), Ecology without Nature<br />
(Harvard UP, 2007), seven other books and over seventy essays on<br />
philosophy, ecology, literature, food and music. He is currently writ<strong>in</strong>g<br />
two books: Realist Magic and Hyperobjects.<br />
› Freak show ecology: What is the difference between a duck?, Design<br />
Ecologies, 1.2, 185-199.<br />
Shelby Moser Shelby Moser is an Adjunct Professor of Art History <strong>in</strong> the Department
Azusa Pacific University, Department<br />
of Art, 901 E. Alosta Avenue, Azusa,<br />
CA 91702, United States of America<br />
Keywords postmodern art, Ancient<br />
Near Eastern studies, art history<br />
Gabrielle Moser<br />
Keywords<br />
Max Moswitzer<br />
Zurich University of the <strong>Arts</strong>,<br />
Department of Design,<br />
Ausstellungsstrasse 60, Zurich, 8005,<br />
Switzerland<br />
Keywords art, metaverse, avatar, text,<br />
generative<br />
of Art at Azusa Pacific University (APU) <strong>in</strong> Southern California.<br />
Moser received a BA <strong>in</strong> History from APU and MA <strong>in</strong> Art History<br />
from California State University, Los Angeles, where she focused on<br />
postmodern art trends and Ancient Near Eastern studies. She formerly<br />
<strong>in</strong>terned as slide curator for the Hunt<strong>in</strong>gton Library <strong>in</strong> San Mar<strong>in</strong>o, CA<br />
and currently assists <strong>in</strong> historical <strong>research</strong> for <strong>in</strong>dependent films. Moser<br />
lives <strong>in</strong> the Los Angeles area with her husband and two sons.<br />
› No folds barred: a review of the documentary film, Between the Folds,<br />
Visual Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 85-87.<br />
› F<strong>in</strong>d<strong>in</strong>g civic identity: a review of Sarah Schrank’s Art and the City: Civic<br />
Imag<strong>in</strong>ation and Cultural Authority <strong>in</strong> Los Angeles, Visual Inquiry: Learn<strong>in</strong>g<br />
& Teach<strong>in</strong>g Art, 1.1, 77-79.<br />
› BOOK REVIEWS, Journal of Curatorial Studies, 1.1, 121-130.<br />
Max Moswitzer (aka MosMax Hax) was born <strong>in</strong> 1968, and lives and<br />
works <strong>in</strong> Vienna and Zurich. Moswitzer’s output is <strong>in</strong> f<strong>in</strong>e art and the<br />
construction of playful situations, and he uses dérive and détournement<br />
as methodology for transformation and reverse eng<strong>in</strong>eer<strong>in</strong>g of<br />
networked computer games and art systems. S<strong>in</strong>ce 1996 he has<br />
provided his own server (http://www.konsum. net) and is a found<strong>in</strong>g<br />
member of www.ludic-society.net. In 2007 Moswitzer moved some of<br />
his creative practice <strong>in</strong>to the metaverse, i.e. ®Second Life. His<br />
architectural <strong>in</strong>stallation Whitenoise was one of four w<strong>in</strong>ners <strong>in</strong> the<br />
first annual ‘Architecture and Design’ competition <strong>in</strong> ®Second Life, an<br />
<strong>in</strong>ternationally juried event of Ars Electronica 2007. He recently<br />
completed Ouvroir, a virtual museum <strong>in</strong> ®Second Life for Chris Marker<br />
commissioned by the Museum für Gestaltung, Zürich.<br />
› LPDT2, Metaverse Creativity, 1.1, 81-100.
Julia Moszkowicz<br />
Bath Spa University, Bath School of<br />
Art and Design, Sion Hill, Lansdown,<br />
Bath, Avon, BA1 5SF, United<br />
K<strong>in</strong>gdom<br />
Keywords artist-practitioners,<br />
exhibition phenomenology,<br />
emergence, essence, engagement<br />
Judith Mottram<br />
Nott<strong>in</strong>gham Trent University, Burton<br />
Street, Nott<strong>in</strong>gham, NG1 4BU,<br />
United K<strong>in</strong>gdom<br />
Keywords pa<strong>in</strong>t<strong>in</strong>g, f<strong>in</strong>e art, galleries,<br />
technology, art education<br />
Neil Mulholland<br />
Ed<strong>in</strong>burgh College of Art, Centre for<br />
Visual & Cultural Studies,, 74<br />
Lauriston Place, Ed<strong>in</strong>burgh, EH3<br />
9DF, United K<strong>in</strong>gdom<br />
Julia Moszkowicz is a lecturer <strong>in</strong> the History and Theory of Design at<br />
Bath Spa University College. She has published numerous articles and<br />
reviews on new media, pa<strong>in</strong>t<strong>in</strong>g and photography. Julia Moszkowicz<br />
has a Ph.D. on 'Phenomenology and Graphic Design Criticism: a reevaluation<br />
of historical precedents <strong>in</strong> the age of New Media'. Her<br />
<strong>research</strong> explores the questions posed by philosophical writers popular<br />
<strong>in</strong> Europe <strong>in</strong> the 1920s (such as Edmund Husserl and Henri Bergson)<br />
about time and the creative process, and discusses how these critical<br />
themes were developed <strong>in</strong> the words and work of contemporary<br />
designers (such as Laszlo Moholy-Nagy and Gyorgy Kepes). Her thesis<br />
describes how phenomenology, <strong>in</strong> particular, underp<strong>in</strong>s the early<br />
studio-based languages of Graphic Design's pioneer<strong>in</strong>g practitioners<br />
and argues that despite be<strong>in</strong>g marg<strong>in</strong>alized with<strong>in</strong> recent critical<br />
discourse, phenomenological concerns rema<strong>in</strong> at the heart of everyday<br />
understand<strong>in</strong>gs of the design process.<br />
› Exhibition Report, Journal of Visual Art Practice, 3.2, 149-.<br />
› Dialogue with Angie B: a collaborative experiment <strong>in</strong> art criticism, Journal<br />
of Visual Art Practice, 4.1, 39-48.<br />
Judith Mottram is Head of Research at Loughborough University<br />
School of Art & Design. From 1994 to 2000, she was Programme<br />
Leader for the BA (Hons) F<strong>in</strong>e Art Pa<strong>in</strong>t<strong>in</strong>g course. Before that, she<br />
spent the six years s<strong>in</strong>ce complet<strong>in</strong>g her Ph.D. <strong>in</strong> 1988 work<strong>in</strong>g <strong>in</strong><br />
London galleries <strong>in</strong>clud<strong>in</strong>g Wadd<strong>in</strong>gtons and the Hayward Gallery. Her<br />
current <strong>research</strong> focus is on the skills and knowledge that might<br />
appropriately be <strong>in</strong>cluded with<strong>in</strong> F<strong>in</strong>e Art education, and the nature of<br />
<strong>research</strong> and knowledge across the fields of art & design. Judith is<br />
currently Secretary for the National Association for F<strong>in</strong>e Art<br />
Education.<br />
› New Knowledge and New Technology: restructur<strong>in</strong>g f<strong>in</strong>e art education,<br />
Journal of Visual Art Practice, 1.2, 98-110.<br />
› The pedestal and the pendulum: f<strong>in</strong>e art practice, <strong>research</strong> and doctorates,<br />
Journal of Visual Art Practice, 7.2, 133-151.<br />
Neil Mulholland is Director, Centre for Visual & Cultural Studies,<br />
Reader <strong>in</strong> Contemporary Art Theory and Programme Leader of<br />
Postgraduate Visual & CulturalStudies at Ed<strong>in</strong>burgh College of Art. He<br />
writes frequently on contemporary art for a range of <strong>in</strong>ternational art<br />
publications and practices as an artist and freelance curator. He is<br />
author of The Cultural Devolution: Art <strong>in</strong> Brita<strong>in</strong> <strong>in</strong> the
Keywords criticism, artwrit<strong>in</strong>g, miseen-scène,<br />
convergence<br />
Mart<strong>in</strong> Mulligan<br />
RMIT University, Globalism<br />
Research Centre, GPO Box 2476,<br />
Melbourne, VIC 3001, Australia<br />
Keywords local communities,<br />
globalization, community arts<br />
Joan Mull<strong>in</strong><br />
University of Texas, Division of<br />
Rhetoric and Writ<strong>in</strong>g, College of<br />
Liberal <strong>Arts</strong>, 1 University Station,<br />
B5000, Aust<strong>in</strong>, Texas, TX 78712,<br />
United States of America<br />
Keywords non-verbal<br />
communication, written assessment,<br />
practice-based <strong>research</strong>, Writ<strong>in</strong>g<br />
PAD, dissertation, concept mapp<strong>in</strong>g<br />
LateTwentiethCentury (Ashgate, 2003). His <strong>research</strong> is currently<br />
focused on the use of ambient tactics and with the rise of neomedievalism<br />
<strong>in</strong> recent art practice. He has experimented with some of<br />
these ideas <strong>in</strong> a range of fictional approaches to writ<strong>in</strong>g as well as<br />
through his curatorial and art practice. This has led to a more nuanced,<br />
polymathic model of the relationships between art history and theory,<br />
writ<strong>in</strong>g, curat<strong>in</strong>g and practice.<br />
› Editorial-Myth makars, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 261-<br />
264.<br />
› Parallel l<strong>in</strong>es: form and field <strong>in</strong> contemporary artwrit<strong>in</strong>g, Journal of Writ<strong>in</strong>g<br />
<strong>in</strong> Creative Practice, 2.3, 343-353.<br />
Dr. Mart<strong>in</strong> Mulligan is the Director of the Globalism Research Centre<br />
at RMIT University <strong>in</strong> Melbourne where he has specialized <strong>in</strong> <strong>research</strong><br />
on the susta<strong>in</strong>ability of local communities <strong>in</strong> the context of<br />
globalization. He was the project coord<strong>in</strong>ator for a project on the<br />
contribution that community arts can make to the well-be<strong>in</strong>g of local<br />
communities for the Victorian health promotion agency VicHealth<br />
(completed <strong>in</strong> 2007) and was a lead <strong>research</strong>er (with Pia Smith) on the<br />
project for Australia Council for the <strong>Arts</strong> on the project that resulted <strong>in</strong><br />
the current article. He has also conducted recent <strong>research</strong> on what can<br />
be learnt from the tsunami disasters <strong>in</strong> Sri Lanka and India on strategies<br />
for rebuild<strong>in</strong>g local communities <strong>in</strong> the wake of a disaster.<br />
› Art, governance and the turn to community: Lessons from a national action<br />
<strong>research</strong> project on community art and local government <strong>in</strong> Australia,<br />
Journal of <strong>Arts</strong> & Communities, 2.1, 27-40.<br />
Joan Mull<strong>in</strong> is a professor <strong>in</strong> the Division of Rhetoric and Composition<br />
at the University of Texas at Aust<strong>in</strong> where she also leads the College of<br />
Liberal <strong>Arts</strong> Writ<strong>in</strong>g Across the Curriculum <strong>in</strong>itiative. Her co-edited<br />
collection, Intersections: Theory-Practice <strong>in</strong> the Writ<strong>in</strong>g Center won<br />
the 1994 National Writ<strong>in</strong>g Center Association Award for Outstand<strong>in</strong>g<br />
Scholarship, and the co-authored book, ARTiculat<strong>in</strong>g. Teach<strong>in</strong>g<br />
Writ<strong>in</strong>g <strong>in</strong> a Visual Culture (Boynton/Cook He<strong>in</strong>emann, 1998)<br />
<strong>in</strong>dicates her current <strong>research</strong> <strong>in</strong>terest <strong>in</strong> visual literacy across<br />
<strong>in</strong>ternational curricula. Past president of the National Writ<strong>in</strong>g Centers<br />
Association, and former co-editor of The Writ<strong>in</strong>g Center Journal she<br />
serves on editorial boards and committees nationally and<br />
<strong>in</strong>ternationally.
Stuart Munro<br />
Bartlett School of Architecture,<br />
University College of London, Wates<br />
House, 22 Gordon Street, London,<br />
WC1H 0QB, United K<strong>in</strong>gdom<br />
Keywords visual arts, architecture,<br />
music, new media<br />
Sana Murrani<br />
University of Plymouth, School of<br />
Archirecture, Room 401 Roland<br />
Lev<strong>in</strong>sky Build<strong>in</strong>g, Drake circus,<br />
Plymouth, Devon, PL4 8AA, United<br />
K<strong>in</strong>gdom<br />
Keywords behavioural spaces,<br />
collectivity, complex systems,<br />
conceptual architecture, architectural<br />
theory<br />
› Textual and visual <strong>in</strong>terfaces <strong>in</strong> art and design education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 75-80.<br />
› Textual and visual <strong>in</strong>terfaces <strong>in</strong> art and design education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.3, 139-140.<br />
His work is a mixture of sculpture and photography and is a cont<strong>in</strong>u<strong>in</strong>g<br />
exploration of architecture and the visual arts and has been published,<br />
most notably <strong>in</strong> Digital Architecture Now (Thames and Hudson, 2009).<br />
Recent talks and workshops have also been held <strong>in</strong> Japan and Norway.<br />
Professionally, he has worked for a number of award-w<strong>in</strong>n<strong>in</strong>g design<br />
studios, work<strong>in</strong>g with visionary graphic designer Vaughan Oliver on<br />
several projects for architecture, pr<strong>in</strong>t and music. Currently he is a<br />
teach<strong>in</strong>g fellow for the Masters Architectural Design programme at the<br />
Bartlett School of Architecture, and a member of Advanced Virtual and<br />
Technological Architectural Research, a group directed by Professor<br />
Neil Spiller. As part of the editorial board for Design Ecologies<br />
(<strong>Intellect</strong> Books) he participated <strong>in</strong> an accompany<strong>in</strong>g lecture series and<br />
exhibition <strong>in</strong> early 2011.<br />
› Ecological Design Vision: Dream<strong>in</strong>g tongues: Journeys and observations<br />
through a sensitive and tempered landscape, Design Ecologies, 1.1, 33-56.<br />
Sana Murrani (b. 1977, British-Iraqi) is an experimental architect, and<br />
currently holds the position of Lecturer <strong>in</strong> Architecture at the<br />
University of Plymouth, UK. She studied Architecture <strong>in</strong> Baghdad<br />
University School of Architecture, graduat<strong>in</strong>g <strong>in</strong> 2000, and obta<strong>in</strong>ed<br />
her masters degree from the same school <strong>in</strong> 2003. Her thesis dealt with<br />
the emergence of architectural form and formulation by draw<strong>in</strong>g an<br />
analogy between architecture and genetics. Murrani started work<strong>in</strong>g as<br />
a professional architect <strong>in</strong> 2000 <strong>in</strong> Iraq. She is presently explor<strong>in</strong>g<br />
aspects of the emergence of biological/artificial systems and<br />
perception, and the behaviour of architectural situations of <strong>in</strong>-between<br />
representation and experience. Sana Murrani is a member of the<br />
Planetary Collegium’s CAiiA-Hub <strong>in</strong> Plymouth, UK where she<br />
undertook her PhD under the supervision of Roy Ascott (President of<br />
Planetary Collegium), Mike Phillips (Director of i-DAT), and computer<br />
scientist Steve Grand.<br />
› The behaviour of architectural forms, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 5.3, 133-150.<br />
› Third way architecture: Between cybernetics and phenomenology,
Stuart Murray<br />
United K<strong>in</strong>gdom<br />
Keywords samizdat, z<strong>in</strong>e, selfpublish<strong>in</strong>g<br />
Chris Murray<br />
Keywords comics, graphic novels,<br />
film, word and image<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.3, 267-281.<br />
Stuart Murray, like many modern artists, has two bases, spend<strong>in</strong>g his<br />
time between The Calton and Dennistoun. He f<strong>in</strong>ds this arrangement<br />
extremely stimulat<strong>in</strong>g. His draw<strong>in</strong>gs are remarkable for sharp-eyed and<br />
witted vignettes focus<strong>in</strong>g on the rum<strong>in</strong>ations of the folk encountered <strong>in</strong><br />
daily life. These po<strong>in</strong>ted render<strong>in</strong>gs depict homelessness and begg<strong>in</strong>g,<br />
menial jobs, dr<strong>in</strong>k<strong>in</strong>g and pub culture. His more recent volumes are<br />
marked by a melancholic m<strong>in</strong>imal graphic handl<strong>in</strong>g and po<strong>in</strong>t-of-view<br />
shots of real people. Murray graduated with a BA <strong>in</strong> Pr<strong>in</strong>tmak<strong>in</strong>g from<br />
the Glasgow School of Art <strong>in</strong> 2000. Murray has published many of his<br />
own books of draw<strong>in</strong>gs and more recently has been published by<br />
Trajectory, Street Level and Tramway.Exhibitions <strong>in</strong>clude Stuart<br />
Murray, Jerwood Artists Platform, Cell Project Space, London (2007),<br />
Alasdair Gray & Stuart Murray, Embassy Gallery, Ed<strong>in</strong>burgh (2006),<br />
second International Biennial of Young Artists, Bucharest (2006) and<br />
Stuka Do Kupiena, Galeria Sheik Yerbouti, Krakow, Poland (2004–<br />
2005).<br />
› Hampstead Revisited, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 301-325.<br />
Chris Murray's <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> comics, film and popular<br />
culture, specifically the theorization of how popular visual culture<br />
relates to other discourses (literature, art, and politics). Dr Murray has<br />
published on various aspects of comics, <strong>in</strong>clud<strong>in</strong>g: the relationship<br />
between American superhero comics, popular culture and propaganda<br />
dur<strong>in</strong>g World War Two; the comics of Alan Moore, Neil Gaiman and<br />
Grant Morrison; Independent/small press comics (m<strong>in</strong>i-comics) and<br />
British comics, specifically DC Thomson.Chris is editor (along with Dr<br />
Julia Round) of the <strong>Intellect</strong> comics journal, Studies <strong>in</strong> Comics. He is<br />
Secretary of the Scottish Word and Image Group, which <strong>research</strong>es<br />
aspects of the relationship between verbal and visual representation.<br />
› EDITORIAL, Studies <strong>in</strong> Comics, 1.1, 3-5.<br />
› Editorial, Studies <strong>in</strong> Comics, 1.2, 189-190.<br />
› Interview with The Magus, Studies <strong>in</strong> Comics, 2.1, 7-19.
Shaun Murray<br />
Eniatype<br />
Keywords architecture,<br />
environmental design, design<br />
communication<br />
Col<strong>in</strong> Murrell<br />
University of Central Lancashire,<br />
School of Art, Design and<br />
Performance, Preston, Lancashire,<br />
PR1 2HE, United K<strong>in</strong>gdom<br />
Keywords health, therapy, <strong>research</strong>,<br />
ethics, pedagogy, community,<br />
phenomenology, holism,<br />
humanitarian, project management,<br />
music, theatre<br />
Alla Myzelev<br />
University of Guelph<br />
Keywords<br />
Sylvia Nagl<br />
UCL Cancer Institute, Paul O'Gorman<br />
Build<strong>in</strong>g, 72 Huntley Street, London,<br />
WC1E 6BT, United K<strong>in</strong>gdom<br />
Keywords architecture, systems<br />
architecture, complexity,<br />
symbiogenesis, liv<strong>in</strong>g technologies<br />
› Editorial, Design Ecologies, 1.1, 7-12.<br />
› Ideation:Eniatype, Design Ecologies, 1.1, 13-32.<br />
› The Unprimed Canvas, Design Ecologies, 1.2, 179-181.<br />
Col<strong>in</strong> has been creat<strong>in</strong>g arts (arts-health, <strong>in</strong>terdiscipl<strong>in</strong>ary arts, music,<br />
creative writ<strong>in</strong>g, pa<strong>in</strong>t<strong>in</strong>g, sculpture, mixed media, photography, film,<br />
theatre, and performance) dissem<strong>in</strong>ated <strong>in</strong>ternationally via <strong>in</strong>dependent<br />
labels and publishers s<strong>in</strong>ce 1981. Col<strong>in</strong> was elected as supervisor of<br />
HANFA Registered Charity 1014855 for the positive <strong>in</strong>teraction of<br />
disabled and non-disabled people and worked with<strong>in</strong> <strong>in</strong>-patient and outpatient<br />
art, drama, movement, and music therapy. Currently, Col<strong>in</strong><br />
works at the University of Central Lancashire.<br />
› Reviews, Journal of <strong>Arts</strong> & Communities, 1.2, 193-197.<br />
› EXHIBITION REVIEW, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 231-<br />
236.<br />
› BOOK REPORTS, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 249-268.<br />
Dr. Sylvia Nagl is an <strong>in</strong>ternationally recognized leader <strong>in</strong> complexity<br />
science and theory. Her <strong>research</strong> focuses on complexity of the human<br />
body and its <strong>in</strong>terrelationswith natural and built environments across<br />
multiple scales. She currently heads the Complex Systems Group at the<br />
Cancer Institute, University College London (UCL). Her<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary <strong>in</strong>terests <strong>in</strong>clude computer simulation of complex<br />
systems, the body and architecture, the human body <strong>in</strong> science, art and<br />
culture, emergence and evolution. Dr. Nagl ma<strong>in</strong>ta<strong>in</strong>s a network of<br />
collaborators from the arts and sciences <strong>in</strong> Europe, the Asia-Pacific,<br />
India and the United States of America. She has been active <strong>in</strong> diverse<br />
debates on the social, cultural and ethical issues aris<strong>in</strong>g from<br />
bioscience, genomic medic<strong>in</strong>e and digital technologies as a speaker and
Toshio Naoe<br />
University of Tsukuba, Institute of<br />
Art and Design, Tsukuba-shi, Ibarakiken,<br />
305-8574, Japan<br />
Keywords cooperative learn<strong>in</strong>g,<br />
secondary teacher education, art,<br />
curriculum development, Japan<br />
Cláudia Mart<strong>in</strong><br />
Nascimento<br />
Rua L<strong>in</strong>da Ferreira da Rosa, 75 –<br />
Perdizes, Cep: 05010-030, São Paulo,<br />
Brazil<br />
Keywords hypermedia, complexity,<br />
web design, mythology, narratives,<br />
construction of mean<strong>in</strong>g, hypertext,<br />
structure, webs, symbology<br />
Hala F. Nassar<br />
Clemson University, Department of<br />
writer for over twenty years. Dr. Nagl’s work is creat<strong>in</strong>g fresh models<br />
of thought for biomedic<strong>in</strong>e,architecture, susta<strong>in</strong>ability and<br />
transdiscipl<strong>in</strong>ary culture <strong>in</strong> the twenty-first century.<br />
› Spaces of aff<strong>in</strong>ity, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2,<br />
191-197.<br />
Toshio Naoe, Ph.D. is Associate Professor at the Graduate School of<br />
Comprehensive Human Sciences, University of Tsukuba. He teaches<br />
art education on undergraduate, masters and doctorate programmes. He<br />
is the author of Reform <strong>in</strong> Art Education <strong>in</strong> the First Half of the<br />
Twentieth Century <strong>in</strong> the United K<strong>in</strong>gdom published <strong>in</strong> Tokyo by<br />
Kenpakusha <strong>in</strong> 2002. He has also translated Herbert Read’s Education<br />
thorough Art <strong>in</strong>to Japanese.<br />
› The role of cooperative learn<strong>in</strong>g <strong>in</strong> the <strong>in</strong>troductory stages of art teacher<br />
tra<strong>in</strong><strong>in</strong>g programmes <strong>in</strong> Japan, International Journal of Education through<br />
Art, 4.2, 163-176.<br />
Cláudia Mart<strong>in</strong> Nascimento is a web designer. She completed her BA<br />
<strong>in</strong> Design <strong>in</strong> 1996 at Armando Álvares Penteado Foundation (FAAP),<br />
São Paulo, Brazil. She obta<strong>in</strong>ed her MA <strong>in</strong> Aesthetics and Art History<br />
<strong>in</strong> 2007 at the University of São Paulo (USP), São Paulo, Brazil. Her<br />
<strong>research</strong> project 'A planetary myth: explor<strong>in</strong>g hypermedia' is a study <strong>in</strong><br />
which the narrative structure of hypermedia was put <strong>in</strong> parallel with<br />
that found by the anthropologist Claude Lévi-Strauss <strong>in</strong> the South-<br />
American <strong>in</strong>digenous mythical narratives. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude hypermedia structure, web universes, complexity and<br />
production of mean<strong>in</strong>g. She works as a web designer s<strong>in</strong>ce 1998 and<br />
had developed projects for big companies and mult<strong>in</strong>ationals.<br />
› Explor<strong>in</strong>g hypermedia through the myths, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 6.3, 269-285.<br />
Hala F. Nassar, Ph.D. is Assistant Professor of Landscape Architecture<br />
at Clemson University, South Carol<strong>in</strong>a. She holds a BSArch, MSArch,<br />
and Ph.D. <strong>in</strong> History of Landscape Architecture from A<strong>in</strong> Shams
Plann<strong>in</strong>g and Landscape Architecture,<br />
168 C Lee Hall, Box 340511, SC,<br />
29634-0511, United States of<br />
America<br />
Keywords landscape architecture,<br />
design, culture, Islam, globalization<br />
Santiago Navarro<br />
Universidad de Sevilla, Faculty of<br />
F<strong>in</strong>e <strong>Arts</strong>, Seville<br />
Keywords Alzheimer's disease,<br />
sculpture, <strong>in</strong>terdiscipl<strong>in</strong>ary <strong>research</strong><br />
Joseph Nechvatal<br />
School of Visual <strong>Arts</strong>, MFA<br />
Computer <strong>Arts</strong>, 143 Ludlow Street<br />
#14, New York, Manhattan, 10002,<br />
United States of America<br />
Keywords immersive, excess, deep,<br />
space, Apse of Lascaux,<br />
University <strong>in</strong> Cairo, Egypt, and Master of Agricultural sciences <strong>in</strong><br />
Landscape Design from Pennsylvania State University. She is a<br />
found<strong>in</strong>g pr<strong>in</strong>cipal and CEO of HewittNassar Studio. Dr. Nassar served<br />
as a faculty member at A<strong>in</strong> Shams University while practic<strong>in</strong>g at<br />
COPA and ESEI <strong>in</strong> Cairo before arriv<strong>in</strong>g <strong>in</strong> the United States <strong>in</strong> 1996.<br />
Orig<strong>in</strong>ally from Egypt, Dr. Nassar br<strong>in</strong>gs her broad <strong>in</strong>ternational<br />
understand<strong>in</strong>g of design and culture <strong>in</strong>to her practice, <strong>research</strong> and<br />
teach<strong>in</strong>g. Her <strong>research</strong> and practice <strong>in</strong>terests <strong>in</strong>clude historical and<br />
cultural landscapes, Islamic landscape tradition, <strong>in</strong>ternational<br />
education, multiculturalism and the effects of globalization on<br />
landscape change.<br />
› Social justice agency <strong>in</strong> the landscape architecture studio: an action <strong>research</strong><br />
approach, Art, Design & Communication <strong>in</strong> Higher Education, 7.2, 91-103.<br />
S<strong>in</strong>ce 2007 Santiago Navarro has been Vicedecano de Relaciones<br />
Internacionales (International Officer) <strong>in</strong> the Faculty of F<strong>in</strong>e <strong>Arts</strong>,<br />
Universidad de Sevilla. He studied F<strong>in</strong>e <strong>Arts</strong> at the Universidad de<br />
Sevilla from 1989 to 1994. Between 1994 to 1999 he received grants to<br />
study at the Accademia di Belle Arti, Florence (Italy); Angel’s<br />
Orensanz Foundation, New York, (EEUU); and the Scola de Belas<br />
Artes, Belo Horizonte (MG-Brazil). S<strong>in</strong>ce 1999 he has taught sculpture<br />
<strong>in</strong> the Faculty of F<strong>in</strong>e <strong>Arts</strong> <strong>in</strong> Seville and a doctoral course entitled The<br />
Human Body: Mean<strong>in</strong>g <strong>in</strong>to the Contemporary Art World. Research<br />
projects <strong>in</strong>clude The plastic-sculpture representation of Alzheimer’s<br />
disease (1987–97) and Microfusion on ceramic shell: New techniques<br />
<strong>in</strong> bronze cast<strong>in</strong>g (2002–06). This project is be<strong>in</strong>g developed at the<br />
Universitá degli Studii di Firenze (Italy) and Universidade de Lisboa<br />
(Portugal).<br />
› Alzheimer's: Research<strong>in</strong>g the disease through sculpture, International<br />
Journal of Education through Art, 3.2, 133-140.<br />
S<strong>in</strong>ce 1986 Joseph Nechvatal has worked with ubiquitous electronic<br />
visual <strong>in</strong>formation, computers and computer-robotics. His computerrobotic<br />
assisted pa<strong>in</strong>t<strong>in</strong>gs and computer software animations are shown<br />
regularly <strong>in</strong> galleries and museums throughout the world. From 1991-<br />
1993 he worked as artist-<strong>in</strong>-resident at the Louis Pasteur Atelier and<br />
the Sal<strong>in</strong>e Royale / Ledoux Foundation's computer lab <strong>in</strong> Arbois,<br />
France on The Computer Virus Project: an experiment with computer<br />
viruses as a creative stratagem. In 2002 he extended that artistic<br />
<strong>research</strong> <strong>in</strong>to the field of viral artificial life through his collaboration
consciousness, artificial life, virtual<br />
reality, noise, immersion, digital art,<br />
a-life, audio art, VR<br />
Ken Neil<br />
Glasgow School of Art, Forum for<br />
Critical Inquiry, 167 Renfrew Street,<br />
Glasgow, G3 6RQ, United K<strong>in</strong>gdom<br />
Keywords f<strong>in</strong>e art, visual art,<br />
pa<strong>in</strong>t<strong>in</strong>g, photorealism<br />
Fabian Neuhaus<br />
University College London, Centre<br />
for Advanced Spatial Analysis,<br />
University College London, 90<br />
Tottenham Court Road, London, W1T<br />
4TJ, United K<strong>in</strong>gdom<br />
Keywords urban environment, urban<br />
design, architecture<br />
with the programmer Stéphane Sikora. Dr. Nechvatal earned his Ph.D.<br />
<strong>in</strong> the philosophy of art and new technology at The Centre for<br />
Advanced Inquiry <strong>in</strong> the Interactive <strong>Arts</strong> (CAiiA) University of Wales<br />
College, Newport, where he served as conference coord<strong>in</strong>ator for the<br />
1st International CAiiA Research Conference entitled 'Consciousness<br />
Reframed: Art and Consciousness <strong>in</strong> the Post-Biological Era' (July<br />
1997).<br />
› Immersive Excess <strong>in</strong> the Apse of Lascaux, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 3.3, 181-.<br />
Ken Neil is Head of F<strong>in</strong>e Art at Gray's School of Art <strong>in</strong> Abderdeen. He<br />
studied art history and pa<strong>in</strong>t<strong>in</strong>g at Ed<strong>in</strong>burgh University and Ed<strong>in</strong>burgh<br />
College of Art. He has recently completed a Ph.D. that considered the<br />
significance of the 'banal' reproduction of the everyday <strong>in</strong> the pa<strong>in</strong>t<strong>in</strong>g<br />
of the American photorealist.<br />
› …While I am th<strong>in</strong>k<strong>in</strong>g I am just over here…, Journal of Visual Art Practice,<br />
2.1, 12-17.<br />
Fabian Neuhaus, Ph.D. Researcher, Centre for Advanced Spatial<br />
Analysis, University College London. His ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terest are<br />
temporal aspects of the urban environment <strong>in</strong> general and cyclical,<br />
repetitive temporal patterns specifically. He has been teach<strong>in</strong>g at the<br />
University of Plymouth, School of Architecture as a unit tutor <strong>in</strong> year<br />
three and a tutor <strong>in</strong> year four and five as well as at the Bartlett School<br />
of Architecture with the MA Urban Design course as a unit Tutor. He<br />
is an <strong>in</strong>vited guest critique at the Bartlett, Architecture Association AA,<br />
London Met Faculty of Architecture and Spatial Design, Plymouth<br />
School of Architecture. For his Masters of Science <strong>in</strong> Urban Design at<br />
the Bartlett School of Architecture, he was awarded a dist<strong>in</strong>ction.<br />
Fabian also received a Masters of Architecture from FHNW Basel,<br />
Switzerland. He has worked with architecture and urban design<br />
practices <strong>in</strong> the UK and Switzerland as well as<br />
› New city landscape – Mapp<strong>in</strong>g urban Twitter usage, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 9.1, 31-48.
Darren Newbury<br />
Birm<strong>in</strong>gham City University,<br />
Birm<strong>in</strong>gham Institute of Art and<br />
Design, United K<strong>in</strong>gdom<br />
Keywords photography, visual<br />
studies, <strong>research</strong> methods, design,<br />
doctoral education, <strong>research</strong> tra<strong>in</strong><strong>in</strong>g,<br />
<strong>research</strong> degrees<br />
Krist<strong>in</strong>a Niedderer<br />
University of Wolverhampton, School<br />
of Art and Design, Mol<strong>in</strong>eux Street,<br />
Wolverhampton, WV1 1SB, United<br />
K<strong>in</strong>gdom<br />
Keywords experiential knowledge,<br />
know<strong>in</strong>g, knowledge communication,<br />
<strong>research</strong> exhibition, <strong>research</strong><br />
education, craft <strong>research</strong>, future of<br />
craft, craft theory and practice, craft<br />
education, conceptual issues,<br />
artefacts, performative objects<br />
Ole John Nielsen<br />
University of Copenhagen,<br />
Department of Chemistry,<br />
Universitetparken 5, 2100<br />
Cpoenhagen 0, Denmark<br />
Darren Newbury is Professor of Photography at Birm<strong>in</strong>gham Institute<br />
of Art and Design, Birm<strong>in</strong>gham City University. He has published<br />
widely on photography, photographic education and visual <strong>research</strong>.<br />
His most recent <strong>research</strong> has focused on the development of<br />
photography <strong>in</strong> apartheid South Africa and the re-use of historical<br />
images as a form of memorialization <strong>in</strong> contemporary post-apartheid<br />
displays. His book on the subject, Defiant Images: Photography and<br />
Apartheid South Africa, was published by the University of South<br />
Africa (UNISA) Press <strong>in</strong> 2009. He is also editor of the <strong>in</strong>ternational<br />
journal Visual Studies.<br />
› Doctoral education <strong>in</strong> design, the process of <strong>research</strong> degree study, and the<br />
'tra<strong>in</strong>ed <strong>research</strong>er', Art, Design & Communication <strong>in</strong> Higher Education, 1.3,<br />
149-160.<br />
Dr. Krist<strong>in</strong>a Niedderer, is reader <strong>in</strong> Design and Applied <strong>Arts</strong> at the<br />
University of Wolverhampton. She is course leader for Applied <strong>Arts</strong>,<br />
and leads Contextual Studies <strong>in</strong> the Division of Design and Applied<br />
<strong>Arts</strong> and the 'Material and Theoretical Practice' Research Cluster. She<br />
was orig<strong>in</strong>ally apprenticed, and worked as a goldsmith and silversmith<br />
<strong>in</strong> Germany. She then tra<strong>in</strong>ed as a designer and design <strong>research</strong>er <strong>in</strong> the<br />
United K<strong>in</strong>gdom, with an MA (RCA) and a Ph.D. <strong>in</strong> Design. A<br />
practitioner and <strong>research</strong>er, Krist<strong>in</strong>a exhibits and publishes her work<br />
regularly at <strong>in</strong>ternational level. She has been a keynote speaker and has<br />
lectured at various universities worldwide. Her <strong>research</strong> <strong>in</strong>terests range<br />
across conceptual issues <strong>in</strong> craft and design; fundamental pr<strong>in</strong>ciples<br />
and practices of us<strong>in</strong>g practice with<strong>in</strong> <strong>research</strong>; the nature and role of<br />
knowledge <strong>in</strong> <strong>research</strong>; <strong>research</strong> education.<br />
› New knowledge <strong>in</strong> the creative discipl<strong>in</strong>es – proceed<strong>in</strong>gs of the first<br />
Experiential Knowledge Conference 2007, Journal of Visual Art Practice,<br />
6.2, 81-88.<br />
› Editorial, Craft Research, 1.1, 3-10.<br />
› Expand<strong>in</strong>g craft: Reapprais<strong>in</strong>g the value of skill, Craft Research, 2.1, 3-10.<br />
Professor Ole John Nielsen, Ph.D., Copenhagen Centre for<br />
Atmospheric Research, University of Copenhagen. 2007 Nobel Peace<br />
Prize w<strong>in</strong>ner together with Al Gore and 2,500 scientists. He is a<br />
member of Intergovernmental Panel of Climate Change (IPCC) and<br />
professor of Atmospheric Chemistry s<strong>in</strong>ce 1999. He was previously<br />
employed for 21 years with Risø National Laboratory and 1.5 years<br />
with Ford Motor Company. He received his M.Sc. <strong>in</strong> Spectroscopy
Keywords liv<strong>in</strong>g architecture, green<br />
architecture, susta<strong>in</strong>ability, climate<br />
adaptation and mitigation, systems<br />
architecture<br />
Jennifer Kanary<br />
Nikolov(a)<br />
University of Amsterdam,<br />
Krommenieerpad 88, 1521 HB<br />
Wormerveer, Amsterdam,<br />
Netherlands<br />
Keywords art <strong>research</strong>, physics of<br />
thought, <strong>in</strong>dependent artist<br />
Nithikul Nimkulrat<br />
Loughborough University, School of<br />
the <strong>Arts</strong>, Loughborough,<br />
Leicestershire, LE11 3 TU, United<br />
K<strong>in</strong>gdom<br />
Keywords reflective practice,<br />
practice-led <strong>research</strong>, expressivity,<br />
materiality, textiles, crafts<br />
from the University of Copenhagen (UoC) <strong>in</strong> 1978 and a Ph.D. <strong>in</strong><br />
Atmospheric Chemistry from UoC <strong>in</strong> 1984. His <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude atmospheric chemistry and hence the environmental impact of<br />
CFC replacement compounds and of oxygenated species, fundamental<br />
k<strong>in</strong>etics and mechanisms of reactions important <strong>in</strong> atmospheric and<br />
combustion chemistry, determ<strong>in</strong>ation of the environmental impact of<br />
anthropogenic and natural emissions – out-door as well as <strong>in</strong>-door<br />
chemistry, atmospheric particulates, air pollution chemistry and global<br />
change.<br />
› The nautilus – evolv<strong>in</strong>g architecture and city landscapes for future<br />
susta<strong>in</strong>able development, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 7.2, 105-115.<br />
The <strong>in</strong>dependent artist Jennifer Kanary Nikolov(a) studied fashion<br />
design from 1994 to 1998 before graduat<strong>in</strong>g with the first version of<br />
roomforthoughts from the f<strong>in</strong>e arts department of the Maastricht Art<br />
Academy <strong>in</strong> 2000.She cont<strong>in</strong>ued with a Master’s programme at the<br />
Sandberg Institute <strong>in</strong> Amsterdam, which she completed <strong>in</strong> 2002.<br />
Afterwards, she was <strong>in</strong>vited to participate <strong>in</strong> the first experimental<br />
curat<strong>in</strong>g course <strong>in</strong>itiated by the University of Amsterdam and the<br />
Sandberg Institute. Jennifer has participated <strong>in</strong> several art and science<br />
projects such as Battle of the Universities, Kloone4000 and<br />
Discovery07. From November 2007 to April 2008, she has been artist<strong>in</strong>residence<br />
at the National Psychiatry Museum <strong>in</strong> Haarlem, the<br />
Netherlands. S<strong>in</strong>ce 2008, she is the head tutor of the Honours Program<br />
Art and Research of the University of Amsterdam and the Gerrit<br />
Rietveld Academie Amsterdam. All her <strong>in</strong>stallations are about the<br />
physics of thought.<br />
› Halluc<strong>in</strong>ations, an existential crisis?, Metaverse Creativity, 1.2, 197-206.<br />
Nithikul Nimkulrat is a Thai textile artist, designer and <strong>research</strong>er,<br />
currently work<strong>in</strong>g as a Lecturer at the Loughborough University <strong>in</strong> the<br />
UK. She earned a Doctor of <strong>Arts</strong> Degree from the University of Art<br />
and Design Hels<strong>in</strong>ki <strong>in</strong> 2009. Her <strong>research</strong> <strong>in</strong>terest is rooted <strong>in</strong> her<br />
textile practice, reach<strong>in</strong>g across conceptual issues <strong>in</strong> art and design,<br />
especially the role of creative practice <strong>in</strong> academic <strong>research</strong> and the<br />
immateriality of physical materials <strong>in</strong> creative processes. Hav<strong>in</strong>g<br />
situated her work at the <strong>in</strong>tersection of art and design, and at that of the<br />
academic and art worlds, her creative artefacts have received awards<br />
and have been exhibited <strong>in</strong>ternationally, while her <strong>research</strong> has been
Martha Patricia Niño<br />
Mojica<br />
Universidad Javeriana en Bogotá,<br />
Carrera 7 # 40 - 6, Bogotá,<br />
(0)3208320, Colombia<br />
Keywords fiction, immateriality,<br />
subjectivity, telematics bio-power,<br />
new world border<br />
Christ<strong>in</strong>e Noweski<br />
Hasso-Plattner-Institut für<br />
Softwaresystemtechnik GmbH, Prof-<br />
Dr-Helmert-Str. 2–3, Potsdam, 14482,<br />
Germany<br />
Keywords design discourses, metadiscipl<strong>in</strong>e,<br />
creative collaboration,<br />
wicked problems, design cognition<br />
published and presented at <strong>in</strong>ternational art and design conferences and<br />
<strong>in</strong> publications.<br />
› Material <strong>in</strong>spiration: From practice-led <strong>research</strong> to craft art education, Craft<br />
Research, 1.1, 63-84.<br />
Martha Patricia Niño Mojica is professor of multimedia <strong>in</strong> the<br />
Department of Visual <strong>Arts</strong> at Universidad Javeriana <strong>in</strong> Bogotá -<br />
Colombia, and has lectured at Universidad de los Andes. She has first<br />
degree <strong>in</strong> f<strong>in</strong>e arts. She cont<strong>in</strong>ued her studies with a postgraduate<br />
Diploma <strong>in</strong> Multimedia, and <strong>in</strong> 2004 she was an UNESCO Aschberg<br />
Bursaries for Artists laureate at the Planetary Collegium, Plymouth<br />
University, United K<strong>in</strong>gdom. Currently do<strong>in</strong>g postgraduate studies at<br />
University of Plymouth. She also forms part of the reviews panel of<br />
Leonardo Journal of MIT. Her work as an artist and academic has<br />
participated at various <strong>in</strong>ternational conferences, publications and<br />
exhibitions.<br />
› Technologies of delusion and subjectivity, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 4.3, 203-210.<br />
› Imag<strong>in</strong>ary cartographies: race and new world borders, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 5.2, 119-.<br />
Christ<strong>in</strong>e Noweski studied Political Science <strong>in</strong> Potsdam (Germany) and<br />
Bangalore (India) before she took part <strong>in</strong> the Design Th<strong>in</strong>k<strong>in</strong>g course at<br />
HPI School of Design Th<strong>in</strong>k<strong>in</strong>g at Potsdam. Currently, she is<br />
participat<strong>in</strong>g <strong>in</strong> the HPI-StanfordDesign Th<strong>in</strong>k<strong>in</strong>g Research Program as<br />
a Ph.D. student. Her <strong>research</strong> <strong>in</strong>terests are norms and values <strong>in</strong> work<br />
life, especially <strong>in</strong> teams. As part of her <strong>research</strong> project,she is<br />
conduct<strong>in</strong>g team experiments <strong>in</strong> cooperation with Stanford University<br />
and Hels<strong>in</strong>ki University of Technology.<br />
› Evolv<strong>in</strong>g discourses on design th<strong>in</strong>k<strong>in</strong>g: how design cognition <strong>in</strong>spires metadiscipl<strong>in</strong>ary<br />
creative collaboration, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.1, 31-37.<br />
Tony O'Connor Tony received his Ph.D. from the National University of Ireland <strong>in</strong>
University College Cork, College of<br />
<strong>Arts</strong>, Celtic Studies and Social<br />
Sciences, Department of Philosophy,<br />
1 & 2 Lucan Place, Western Road,<br />
Cork, United K<strong>in</strong>gdom<br />
Keywords writ<strong>in</strong>g, education,<br />
philosophy<br />
Simon O'Meara<br />
Keywords<br />
Paul O'Neill<br />
University of the West of England,<br />
Situations Office, Spike Island, 133<br />
Cumberland Road, Bristol, BS1 6UX,<br />
United K<strong>in</strong>gdom<br />
Keywords curat<strong>in</strong>g, writ<strong>in</strong>g<br />
Peter O'Neill<br />
London Metropolitan University,<br />
1975. He has been teach<strong>in</strong>g at the Philosophy Department, University<br />
College Cork for almost thirty years. In addition to the conventional<br />
activities of writ<strong>in</strong>g and teach<strong>in</strong>g, he likes to generate and be <strong>in</strong>volved<br />
<strong>in</strong> philosophical discussion and debate. To this end, Tony has been<br />
very active <strong>in</strong> the organization of conferences and symposia. In<br />
addition, he likes to co-operate with the Centre for Adult and<br />
Cont<strong>in</strong>u<strong>in</strong>g Education here at UCC, especially on its Diploma <strong>in</strong> Social<br />
Studies course.<br />
› Editorial Introduction Aesthetics and its objects – challenges from art and<br />
experience, Journal of Visual Art Practice, 5.3, 123-126.<br />
Simon O'Meara is the material culture <strong>research</strong> fellow of the European<br />
Research Council-funded project, 'The Here and the Hereafter <strong>in</strong><br />
Islamic Traditions', hosted by the University of Utrecht. Prior to this<br />
appo<strong>in</strong>tment, he was an associate professor of Art History at the<br />
American University of Kuwait. He <strong>research</strong>es the sociological<br />
dimensions of Islamic art and architecture, with a regional focus on the<br />
art and architecture of North Africa.<br />
› CONFERENCE PRECIS, International Journal of Islamic Architecture, 1.1,<br />
179-189.<br />
Paul O'Neill is a writer, artist and curator based <strong>in</strong> London. He has<br />
curator over 40 exhibitions and projects <strong>in</strong> Brita<strong>in</strong> and Ireland. He was<br />
gallery curator of the London Pr<strong>in</strong>t Studio between 2001 and 2003 and<br />
is co-director of Multiples X. He is editor of 'Curat<strong>in</strong>g Subjects' (De<br />
Appel and Open Editions, 2006), an anthology of new curatorial<br />
writ<strong>in</strong>g and a contributor to 'Art Monthly', 'Cica' and 'The<br />
Internationaler'.<br />
› Curatorial counter-rhetorics and the educational turn, Journal of Visual Art<br />
Practice, 9.2, 177-193.<br />
Peter O’Neill is a Writ<strong>in</strong>g Specialist for the Write Now Centre for<br />
Teach<strong>in</strong>g and Learn<strong>in</strong>g at London Metropolitan University and is<br />
particularly <strong>in</strong>terested <strong>in</strong> collaborative peer tutor<strong>in</strong>g <strong>in</strong> writ<strong>in</strong>g and <strong>in</strong>
Calcutta House, London, E1 7NT,<br />
United K<strong>in</strong>gdom<br />
Keywords academic writ<strong>in</strong>g, CETL,<br />
collaboration, design, design practice<br />
Mary O'Neill<br />
University of L<strong>in</strong>coln, F<strong>in</strong>e Art,<br />
Brayford Pool, L<strong>in</strong>coln, LN6 7TS,<br />
United K<strong>in</strong>gdom<br />
Keywords art writ<strong>in</strong>g, narrative,<br />
recipient design, ephemerality<br />
Jhong Sook Oh<br />
Institute of Atelier-based Art<br />
Education, 202/147-2 Garak, 2 dong<br />
Sonpa gu, Seoul, Korea Sout<br />
Keywords hermeneutic method,<br />
mean<strong>in</strong>g mak<strong>in</strong>g, young children, art<br />
expression<br />
Writ<strong>in</strong>g <strong>in</strong> the Discipl<strong>in</strong>es <strong>in</strong>itiatives with academic staff. He is<br />
<strong>in</strong>volved <strong>in</strong> various <strong>research</strong> activities <strong>in</strong>volv<strong>in</strong>g the Writ<strong>in</strong>g Centre. In<br />
particular,he has long-stand<strong>in</strong>g <strong>in</strong>terests <strong>in</strong> ancient Rhetoric which he<br />
hopes to explore from a more practical standpo<strong>in</strong>t.<br />
› writ<strong>in</strong>g design: A collaboration between the Write Now CETL and The Sir<br />
John Cass Department of Art, Media and Design, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 8.2, 177-182.<br />
Mary O’Neill is Senior Lecturer <strong>in</strong> Cultural Context and Higher<br />
Education Academy Teach<strong>in</strong>g Fellow at the University of L<strong>in</strong>coln. Her<br />
doctoral <strong>research</strong> was on the relationship between ephemeral practices<br />
<strong>in</strong> contemporary art and the behaviours associated with bereavement.<br />
Her current <strong>research</strong> <strong>in</strong>terests span a variety of discipl<strong>in</strong>es and fields<br />
and <strong>in</strong>clude loss, failure, boredom, rejection andsorrow (see ‘Art and<br />
Money: Experience Destruction Exposure’ <strong>in</strong> Money and Culture, Peter<br />
Lang 2007). She is <strong>in</strong>terested <strong>in</strong> the methodology of communicat<strong>in</strong>g<br />
these subjects and the <strong>in</strong>tersection between academic writ<strong>in</strong>g and<br />
creative narrative. She was organizer of the symposium Tell<strong>in</strong>g Stories:<br />
Theory and Narrative, Loughborough University, 2007. Her <strong>in</strong>terest <strong>in</strong><br />
challeng<strong>in</strong>g and difficult material has also led to an exam<strong>in</strong>ation of<br />
ethics and contemporary art.<br />
› Here, ‘I’ am, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.3, 293-300.<br />
Jhong Sook Oh earned her Ph.D. at Hong Ik University <strong>in</strong> Seoul. She<br />
graduated from Seoul National University of Education and was an<br />
elementary teacher. She wasEducational Coord<strong>in</strong>ator at Samsung<br />
Children’s Museum and Adviser at the Children’s Art Museum,<br />
National Museum of Contemporary Art, Korea. She was Professor at<br />
Bakseok Art College. Currently she is Director of the Institute of<br />
Atelier–based Art education. Her <strong>research</strong> <strong>in</strong>terest is children’s<br />
strategies of art expression and hermeneutic enquiry method.<br />
› Document<strong>in</strong>g children's dialogue: a hermeneutic phenomenological<br />
approach, International Journal of Education through Art, 4.1, 75-81.
Selavy Oh<br />
Keywords art, metaverse, avatar, text<br />
Daisuke Okeda<br />
Kitahama partners, 14F Sapia Tower,<br />
1-7-12 Marunouchi, Chiyoda-ku,,<br />
Tokyo, 100-0005, Japan<br />
Keywords animation, Japanese art<br />
Tahneer Oksman<br />
CUNY Graduate Center<br />
Keywords women, Jewish identity,<br />
autobiography, comics<br />
Selavy Oh was created <strong>in</strong> 2007 as an avatar <strong>in</strong> ®Second Life, where she<br />
works us<strong>in</strong>g the virtual world as medium. She presented her work <strong>in</strong><br />
solo exhibitions with<strong>in</strong> ®Second Life, e.g. at IBM exhibition space,<br />
Arthole Gallery, and Odyssey. Her work was selected for the ‘F<strong>in</strong>al 5’<br />
exhibition of the mixed-media project Brooklyn Is Watch<strong>in</strong>g at the<br />
Brooklyn art gallery, Jack The Pelican Presents. Her work has been<br />
covered by prestigious web publications such as SmartHistory and<br />
art:21. Selavy’s creator works as a neuroscientist at the University of<br />
Munich <strong>in</strong>vestigat<strong>in</strong>g topics from spatial perception over computational<br />
neuroscience to human-robot <strong>in</strong>teraction.<br />
› LPDT2, Metaverse Creativity, 1.1, 81-100.<br />
Daisuke Okeda is a lawyer <strong>in</strong> Japan and an <strong>in</strong>spector/director of<br />
JAniCA ( Japanese Animation Creators Association ). His special field<br />
is computer & IT law, the animation <strong>in</strong>dustry and racketeer<strong>in</strong>g through<br />
<strong>in</strong>tercession <strong>in</strong> civil disputes. JAniCA is a non-profit organisation<br />
composed of Japanese animators, animation directors and their<br />
supporters.<br />
› Work<strong>in</strong>g conditions of animators: The real face of the Japanese animation<br />
<strong>in</strong>dustry, Creative Industries Journal, 3.3, 261-271.<br />
Tahneer Oksman is pursu<strong>in</strong>g a Ph.D. <strong>in</strong> English Literature at the<br />
Graduate Center at CUNY, and she is currently a Writ<strong>in</strong>g Fellow at<br />
Brooklyn College. Her dissertation, ‘”Sources”: Jewish American<br />
women’s writ<strong>in</strong>g post-assimilation’, explores works of prose, as well as<br />
comics. Her <strong>in</strong>terests <strong>in</strong>clude Jewish American and ethnic literature<br />
after 1900, contemporary autobiography and autobiography theory,<br />
<strong>in</strong>clud<strong>in</strong>g graphic memoirs, and the photography of autobiography. Her<br />
essay ‘Mourn<strong>in</strong>g <strong>in</strong> the Family Album’ is forthcom<strong>in</strong>g <strong>in</strong> a/b:<br />
Auto/Biography Studies.<br />
› Visualiz<strong>in</strong>g the Jewish body <strong>in</strong> Al<strong>in</strong>e Kom<strong>in</strong>sky Crumb's Need More Love,<br />
Studies <strong>in</strong> Comics, 1.2, 213-232.<br />
› REVIEWS, Studies <strong>in</strong> Comics, 2.1, 223-232.
Nana Afia Opoku–Asare<br />
Kwame Nkrumah University of<br />
Science and Technology, Faculty of<br />
Art, Department of Art Education, P.<br />
O. BOX UP 492, Kumasi, Ghana<br />
Keywords art education, culture,<br />
development, gender, symbolism,<br />
African art, dyes, dye<strong>in</strong>g processes<br />
Hod Orkibi<br />
University of Haifa, Graduate School<br />
of Creative <strong>Arts</strong> Therapies, 11/14<br />
Hana Rov<strong>in</strong>a St., Tel-Aviv, 69372,<br />
Israel<br />
Keywords professional identity,<br />
psychodrama and dramatherapy, arts<br />
therapy, youth, gender, drama<br />
Emily Orley<br />
Roehampton University, Digby Stuart<br />
College, Roehampton Lane, London,<br />
SW15 5PH, United K<strong>in</strong>gdom<br />
Keywords place, encounter, sitewrit<strong>in</strong>g,<br />
Benjam<strong>in</strong>, Rendell<br />
Nana Afia Opoku–Asare is a senior lecturer <strong>in</strong> Art Education <strong>in</strong> the<br />
Department of General Art Studies, Kwame Nkrumah University of<br />
Science and Technology, Kumasi, Ghana. She holds an MA <strong>in</strong> Art<br />
Education from KNUST and MPhil <strong>in</strong> Education from the University<br />
of Sussex at Brighton, UK. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude issues <strong>in</strong><br />
culture, education and development; gender and art production;<br />
symbolism <strong>in</strong> African art and culture; dyes and dye<strong>in</strong>g processes;<br />
materials and methods for art teach<strong>in</strong>g; studio art practice.<br />
› Cultural identity <strong>in</strong> the murals of Sirigu women and their role <strong>in</strong> art education<br />
and social susta<strong>in</strong>ability, International Journal of Education through Art, 7.2,<br />
187-202.<br />
Hod Orkibi, Ph.D., is a creative arts therapist specializ<strong>in</strong>g <strong>in</strong> <strong>in</strong>termodal<br />
psychodrama, faculty member, and Head of the Field Tra<strong>in</strong><strong>in</strong>g<br />
Division at the Graduate School of Creative Art Therapies at Haifa<br />
University, Israel. His practice <strong>in</strong>volves <strong>in</strong>ter-modal psychodrama,<br />
teach<strong>in</strong>g, and adm<strong>in</strong>istration. Hod is a registered member of the<br />
International Expressive <strong>Arts</strong> Therapy Association (IEATA); the Israeli<br />
Association of Psychodrama (I.A.P.); and the Israeli Association of<br />
Creative and Expressive Therapists (I.C.E.T.). He holds a BSc <strong>in</strong><br />
Psychology, a BEd <strong>in</strong> Theatre Education and Direct<strong>in</strong>g, an MA <strong>in</strong><br />
Expressive <strong>Arts</strong> Therapy, and an MA <strong>in</strong> Theatre <strong>Arts</strong>. His <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude professional identity development, supervision and<br />
filed tra<strong>in</strong><strong>in</strong>g; psychodrama and drama therapy; teach-treat boundaries<br />
<strong>in</strong> experiential learn<strong>in</strong>g; aesthetics topics <strong>in</strong> the creative art therapies;<br />
and drama-based assessment.<br />
› The experience of act<strong>in</strong>g: A synthesis of concepts and a cl<strong>in</strong>ical vignette,<br />
Journal of Applied <strong>Arts</strong> & Health, 1.2, 193-203.<br />
Dr. Emily Orley is a practic<strong>in</strong>g artist and lecturer <strong>in</strong> Drama Theatre and<br />
Performance at Roehampton University. Her <strong>research</strong> reflects on, and<br />
engages with, place-writ<strong>in</strong>g, <strong>in</strong>stallation art, performance and<br />
scenography. She has degrees from the Wimbledon School of Art,<br />
Cambridge and Roehampton Universities, and tra<strong>in</strong>ed at the Jacques<br />
Lecoq School <strong>in</strong> Paris.<br />
› Gett<strong>in</strong>g at and <strong>in</strong>to place: writ<strong>in</strong>g as practice and <strong>research</strong>, Journal of Writ<strong>in</strong>g<br />
<strong>in</strong> Creative Practice, 2.2, 159-172.
Susan Orr<br />
Sheffield Hallam University, Faculty<br />
of <strong>Arts</strong>, Comput<strong>in</strong>g, Eng<strong>in</strong>eer<strong>in</strong>g and<br />
Sciences, City Campus, Howard<br />
Street, Sheffield, Yorkshire, S1 1WB,<br />
United K<strong>in</strong>gdom<br />
Keywords non-verbal<br />
communication, written assessment,<br />
practice-based <strong>research</strong>, Writ<strong>in</strong>g<br />
PAD, dissertation, concept mapp<strong>in</strong>g<br />
Peter Osborne<br />
Middlesex University, Centre for<br />
Research <strong>in</strong> Modern European<br />
Philosophy, Trent Park, Bramley<br />
Road, London N14 4YZ, United<br />
K<strong>in</strong>gdom<br />
Keywords photography, digital<br />
image, post-digitalization,<br />
photographic form, social form<br />
Susan Orr is Deputy Dean of the Faculty of <strong>Arts</strong> at York St. John<br />
University. In 2009, she was awarded a chair <strong>in</strong> Pedagogy <strong>in</strong> Creative<br />
Practice. Susan’s <strong>research</strong> focuses on assessment practices <strong>in</strong> art and<br />
design. She has developed a theorized account of art and design<br />
assessment practice that has been used as a means to br<strong>in</strong>g greater<br />
reflexivity to the assessment practices adopted <strong>in</strong> art and design.<br />
Work<strong>in</strong>g from a social constructivist perspective, her <strong>research</strong><br />
identifies that assessment discourses are <strong>in</strong>terlocked with narratives of<br />
identity and power relations. Susan also <strong>research</strong>es the role of writ<strong>in</strong>g<br />
<strong>in</strong> arts based curricula. Her <strong>research</strong> <strong>in</strong> this area subverts the<br />
visual/textual b<strong>in</strong>ary by recast<strong>in</strong>g writ<strong>in</strong>g as a practice that has much <strong>in</strong><br />
common with studio practice.<br />
› Textual and visual <strong>in</strong>terfaces <strong>in</strong> art and design education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 75-80.<br />
› Textual and visual <strong>in</strong>terfaces <strong>in</strong> art and design education, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.3, 139-140.<br />
› Assessment practices <strong>in</strong> art and design, Art, Design & Communication <strong>in</strong><br />
Higher Education, 5.2, 79-82.<br />
› We k<strong>in</strong>d of try to merge our own experience with the objectivity of the<br />
criteria: The role of connoisseurship and tacit practice <strong>in</strong> undergraduate f<strong>in</strong>e<br />
art assessment, Art, Design & Communication <strong>in</strong> Higher Education, 9.1, 5-<br />
19.<br />
› Editorial: Writ<strong>in</strong>g encounters with<strong>in</strong> performance and pedagogical practice,<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.1, 5-13.<br />
› Editorial: Space and place: writ<strong>in</strong>g encounters self, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 2.2, 133-138.<br />
› 11th European League Institutes of the <strong>Arts</strong> Biennial Conference: HEARTH<br />
l'art au coeur du territoire<br />
› Nantes, France, 2730 October 2010, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
3.2, 181-184.<br />
› Reflect on this!, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 197-210.<br />
Peter Osborne is Professor of Modern European Philosophy and<br />
Director of the Centre for Research <strong>in</strong> Modern European Philosophy,<br />
Middlesex University, London and an editor of the journal Radical<br />
Philosophy. His books <strong>in</strong>clude The Politics of Time: Modernity and<br />
Avant-Garde (Verso, 1995), Philosophy <strong>in</strong> Cultural Theory (Routledge,<br />
2000), Conceptual Art (Phaidon, 2002), Marx (Granta, 2005) and (ed.)<br />
Walter Benjam<strong>in</strong>: Critical Evaluations <strong>in</strong> Cultural Theory (3 Volumes,<br />
Routledge, 2005).<br />
› Inf<strong>in</strong>ite exchange: The social ontology of the photographic image,<br />
Philosophy of Photography, 1.1, 59-68.
Jane Osmond<br />
Coventry University, Priory Street,<br />
Coventry, CV1 5FB, United K<strong>in</strong>gdom<br />
Keywords threshold concepts,<br />
<strong>in</strong>dustrial design, tacit knowledge,<br />
CETL, pedagogic <strong>research</strong><br />
Willy Oud<br />
Kohnstamm Instituut, Universiteit van<br />
Amsterdam, Plantage Muidergracht<br />
24, Postbus 94208, 1090 GE<br />
Amsterdam, Netherlands<br />
Keywords art education, <strong>in</strong>novation<br />
projects<br />
Ellen O’Hara<br />
Cockpit <strong>Arts</strong>, Cockpit Yard,<br />
North<strong>in</strong>gton Street, London, WC1N<br />
2NP, United K<strong>in</strong>gdom<br />
Keywords economics, bus<strong>in</strong>ess<br />
development, craft bus<strong>in</strong>ess models<br />
Jane Osmond is Senior Research Assistant for the Centre of Excellence<br />
for Product and Automotive Design (CEPAD), Coventry University<br />
and is <strong>research</strong><strong>in</strong>g students’ spatial awareness skills, threshold concepts<br />
<strong>in</strong> design and <strong>in</strong>ternationalization of the curriculum. Jane is<br />
undertak<strong>in</strong>g a Ph.D. by <strong>research</strong> <strong>in</strong> this area, and has published several<br />
papers on threshold concepts.<br />
› Threshold concepts and the transport and product design curriculum: reports<br />
of <strong>research</strong> <strong>in</strong> progress, Art, Design & Communication <strong>in</strong> Higher Education,<br />
8.2, 169-175.<br />
Willy Oud is Senior Researcher and project leader at the Kohnstamm<br />
Instituut of the Universiteit van Amsterdam (University of Amsterdam,<br />
UvA) s<strong>in</strong>ce 1985. She specializes <strong>in</strong> <strong>research</strong> on <strong>in</strong>novation projects <strong>in</strong><br />
the field of arts education. She was previously a primary school teacher<br />
before she simultaneously studied Education Science at the UvA and at<br />
the Rijksakademie van Beeldende Kunsten <strong>in</strong> Amsterdam.<br />
› Research<strong>in</strong>g effects on ‘ArtWork(s) <strong>in</strong> the Third Sector’: how can we<br />
evaluate community arts projects?, Journal of <strong>Arts</strong> & Communities, 1.3, 203-<br />
215.<br />
Ellen O’Hara is Head of Bus<strong>in</strong>ess Development. She holds a degree <strong>in</strong><br />
Economics and Econometrics from the University of Birm<strong>in</strong>gham and<br />
a postgraduate diploma <strong>in</strong> Adm<strong>in</strong>istrative Management. She jo<strong>in</strong>ed<br />
Cockpit <strong>Arts</strong> <strong>in</strong> 2006, where she is responsible for the design of the<br />
bus<strong>in</strong>ess development strand of the <strong>in</strong>cubation offer. She leads Cockpit<br />
<strong>Arts</strong>’ <strong>research</strong> projects, which have a focus on craft bus<strong>in</strong>ess models<br />
and the impact of <strong>in</strong>cubation on growth. Ellen previously worked for<br />
The Pr<strong>in</strong>ces Trust, <strong>Arts</strong> Council England and Andersen management<br />
consultancy. She sits on the Board of Directors for CreativePeop!e, a<br />
national network of professional development providers, and This is<br />
Not a Gateway, an organization that facilitates the production and<br />
exchange of current th<strong>in</strong>k<strong>in</strong>g and <strong>research</strong> <strong>in</strong> urbanism.<br />
› Rais<strong>in</strong>g the Bar – a study of growth trends among Cockpit <strong>Arts</strong> studio<br />
holders and the impact of <strong>in</strong>cubation on their development, Craft Research,<br />
2.1, 129-141.
Mart<strong>in</strong>a Paatela-<br />
Niem<strong>in</strong>en<br />
University of Eastern F<strong>in</strong>land, School<br />
of Applied Educational Science and<br />
Teacher Education, Harmaapadentie<br />
3, Hels<strong>in</strong>ki, 930, F<strong>in</strong>land<br />
Keywords <strong>in</strong>tertextuality, art,<br />
museum pedagogy, young children<br />
Kyong-Mi Paek<br />
Ulsan National Institute of Science<br />
and Technology (UNIST), Banyeon-ri<br />
100, Eonyang-eup, Ulju-gun,, Ulsan,<br />
689-798, Korea Sout<br />
Keywords art education, creative<br />
processes, <strong>in</strong>quiry oriented learn<strong>in</strong>g,<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary approaches<br />
Adrian Page<br />
Keywords consciousness, Kafka,<br />
literature, read<strong>in</strong>g, virtual reality<br />
Mart<strong>in</strong>a Paatela-Niem<strong>in</strong>en ga<strong>in</strong>ed her Doctorate of <strong>Arts</strong> from the<br />
University of Art and Design, Hels<strong>in</strong>ki (now Aalto University, School<br />
of Art and Design) <strong>in</strong> 2001. She worked as a senior <strong>research</strong> associate<br />
<strong>in</strong> the School of Art Education at the same university from 1985 until<br />
2006. From 2006-2008 she was a lecturer <strong>in</strong> visual arts education <strong>in</strong> the<br />
Department of Applied Sciences of Education, Faculty of Behavioural<br />
Sciences, at the University of Hels<strong>in</strong>ki. In 2008 she was a lecturer at<br />
UIAH.She is currently a professor at the University of Eastern F<strong>in</strong>land.<br />
She has also two adjunct professorships and for the last two years she<br />
has been a postdoctoral <strong>research</strong>er at the Academy of F<strong>in</strong>land. Her<br />
<strong>research</strong> <strong>in</strong>terests are art education both <strong>in</strong> the field of class teacher and<br />
art teacher studies, <strong>in</strong>tertextual methodology and <strong>in</strong>tercultural and -<br />
media projects. She is currently chair of InSEA F<strong>in</strong>land.<br />
› Apply<strong>in</strong>g <strong>in</strong>tertextual method <strong>in</strong> museum pedagogy: study<strong>in</strong>g portraits as<br />
cultural texts at S<strong>in</strong>ebrychoff Art Museum, International Journal of<br />
Education through Art, 1.3, 199-210.<br />
Kyong-Mi Paek is Assistant Professor at Ulsan National Institute of<br />
Science and Technology, South Korea. She received her Ed.D. <strong>in</strong> art<br />
education from Teachers College, Columbia University <strong>in</strong> New York.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>cludes socio-cultural aspects of art learn<strong>in</strong>g,<br />
creative processes and practices <strong>in</strong> the arts, cognitive approaches to art<br />
learn<strong>in</strong>g, <strong>in</strong>quiry oriented learn<strong>in</strong>g and <strong>in</strong>terdiscipl<strong>in</strong>ary approaches.<br />
Her recent <strong>research</strong> <strong>in</strong>volves <strong>in</strong>vestigation of contemporary Korean<br />
sociocultural art education practice and a curriculum development<br />
<strong>research</strong> project for the programmes for gifted and talented youth <strong>in</strong> the<br />
visual arts.<br />
› Empower<strong>in</strong>g Korean pre-service teachers of art, International Journal of<br />
Education through Art, 2.1, 27-42.<br />
Adrian Page is now Academic Leader for the Humanities and Social<br />
Sciences modular scheme at London Metropolitan University where he<br />
is also teach<strong>in</strong>g and <strong>research</strong><strong>in</strong>g <strong>in</strong> the culture <strong>in</strong>dustries. Prior to this<br />
he was Deputy Head of Media <strong>Arts</strong> at the University of Luton. He has<br />
<strong>research</strong>ed and published on many aspects of culture and philosophy,<br />
<strong>in</strong>clud<strong>in</strong>g literary theory, new technologies, film and television drama.<br />
› The end of read<strong>in</strong>g, the beg<strong>in</strong>n<strong>in</strong>g of virtual fiction?, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 2.1, 33-44.
Daniel Palmer<br />
Monash University, Melbourne, Art<br />
Theory Program, Faculty of Art &<br />
Design, Monash University, PO Box<br />
197, Caulfield East, VIC 3145,<br />
Australia<br />
Keywords civil contract of<br />
photography, Ariella Azoulay,<br />
surveillance, terrorism, photography<br />
restrictions<br />
Luisa Paraguai<br />
Anhembi Morumbi University, Rua<br />
Aldo Oliveira Barbosa, 58 Parque das<br />
Universidades 13086-030, Camp<strong>in</strong>as,<br />
SP, Brazil<br />
Keywords experience, mediated<br />
ritual, enactive <strong>in</strong>terface, multisensory<br />
<strong>in</strong>terfaces, mobile devices<br />
Maria Jesús Agra<br />
Pardiñas<br />
University of Santiago de<br />
Compostela, Faculty of Education,<br />
Campus Norte, Avda. Xoán XXIII,<br />
s/n, 15704 Santiago de Compostela,<br />
15704, Spa<strong>in</strong><br />
Keywords art education, teacher<br />
tra<strong>in</strong><strong>in</strong>g, contemporary art<br />
Dr Daniel Palmer is Senior Lecturer <strong>in</strong> the Art Theory Program at the<br />
Faculty of Art & Design at Monash University, Melbourne. His<br />
publications <strong>in</strong>clude Twelve Australian Photo Artists (with Blair<br />
French) (2009), Participatory Media: Visual Culture <strong>in</strong> Real Time<br />
(2008) and as editor Photogenic: Essays/Photography/CCP 2000–2004<br />
(2005).<br />
› No Credible Photographic Interest: Photography restrictions and surveillance<br />
<strong>in</strong> a time of terror, Philosophy of Photography, 1.2, 177-195.<br />
› Reflections on medium specificity occasioned by the symposium 'Digital<br />
Light: Technique, Technology, Creation', Melbourne, 2011, Mov<strong>in</strong>g Image<br />
Review & Art Journal MIRAJ, 1.1, 37-49.<br />
Luisa Paraguai, artist and civil eng<strong>in</strong>eer, holds a Master and Ph.D. <strong>in</strong><br />
Multimedia from Institute of <strong>Arts</strong> at State University of Camp<strong>in</strong>as,<br />
Brazil. Ad Hoc Consultant at CAPES and Visit<strong>in</strong>g-<strong>research</strong>er <strong>in</strong><br />
residence at Planetary Collegium, Plymouth, United K<strong>in</strong>gdom. She has<br />
been teach<strong>in</strong>g at Master Program <strong>in</strong> Design at Anhembi Morumbi<br />
University, a member of Laureate International Universities. She is<br />
currently <strong>in</strong>vestigat<strong>in</strong>g the potential of mobile devices as an <strong>in</strong>terface<br />
for bodyspace perception and experimentation.<br />
› Mobile devices, design<strong>in</strong>g affective spatialities, Technoetic <strong>Arts</strong>: A Journal<br />
of Speculative Research, 8.2, 221-228.<br />
Mª Jesús Agra Pardiñas, Visual Artist, Ph.D. <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> by the<br />
Complutense University of Madrid, is a permanent lecturer of Art<br />
Education <strong>in</strong> the Educational Sciences Faculty of Santiago de<br />
Compostela University. Shefocusses her profesional <strong>in</strong>terests on the<br />
analysis of the relationship between Art and Education and its<br />
<strong>in</strong>volvement <strong>in</strong> Teacher´s Tra<strong>in</strong><strong>in</strong>g. Her last <strong>research</strong> is framed with<strong>in</strong><br />
the Artistic narrative-based <strong>research</strong> (Art Based Research),and how the<br />
new trends of Contemporary Art should be taken <strong>in</strong>to account <strong>in</strong> Art<br />
Education.<br />
› Questions before words An Educational Space, a Stimulat<strong>in</strong>g Space,<br />
International Journal of Education through Art, 7.1, 7-26.
Montserrat Pareja-<br />
Eastaway<br />
University of Barcelona, Department<br />
of Economics, Research Group on<br />
Creativity, Innovation and Urban<br />
Transformation, Faculty of Economy<br />
and Bus<strong>in</strong>ess, Av<strong>in</strong>guda Diagonal,<br />
696. 3ª planta, Barcelona, 8034,<br />
Spa<strong>in</strong><br />
Keywords actors' <strong>in</strong>volvement,<br />
<strong>in</strong>stitutional thickness, leadership,<br />
creative and knowledge economy,<br />
governance<br />
Raquel Paricio Garcia<br />
Universidad de Alcalá de Henares,<br />
Ali Bey 12, 1/31/2003, Barcelona,<br />
Calalunya, 8010, Spa<strong>in</strong><br />
Keywords evolution, new humanism<br />
movement, qualia, space of<br />
perception, space of representation<br />
Guillaume Paris<br />
Keywords dispositif, heterogeneity,<br />
immanence, montage, s<strong>in</strong>uosity<br />
Montserrat Pareja-Eastaway is an Associate Professor of Applied<br />
Economics at the University of Barcelona. She currently leads the<br />
Research Group on Creativity, Innovation and Urban Transformation,<br />
and coord<strong>in</strong>ates the Barcelona ACRE team. She has published several<br />
articles on comparative hous<strong>in</strong>g policies, on creativity and knowledge<br />
<strong>in</strong> the Barcelona Metropolitan Region, and on urban regeneration<br />
towards susta<strong>in</strong>able development.<br />
› New economy, new governance approaches? Foster<strong>in</strong>g creativity and<br />
knowledge <strong>in</strong> the Barcelona Metropolitan Region, Creative Industries<br />
Journal, 3.1, 29-46.<br />
Raquel Paricio Garcia graduated <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> and is currently a Ph.D.<br />
candidate at the Technical University of Catalunya (UPC) <strong>in</strong> Barcelona<br />
on Evolvable applications<strong>in</strong> Art <strong>in</strong>stallations. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude body consciousness and expression and multi-sensory<br />
environments and <strong>in</strong>terfaces, apperception and new qualia. Dur<strong>in</strong>g the<br />
last three years she has been develop<strong>in</strong>g a robotic <strong>in</strong>stallation with<br />
evolvable hardware (www.evolvable.net/poetic) <strong>in</strong> cooperation with a<br />
<strong>research</strong> group from UPC. She is the creator and editor of www.resqualia.net<br />
on-l<strong>in</strong>e space. She is currently granted by the Catalunya<br />
Goverment to develop her work and <strong>research</strong>. She has been teach<strong>in</strong>g <strong>in</strong><br />
different University schools of Barcelona. She has participated <strong>in</strong><br />
exhibitions held <strong>in</strong> Mendel Art Gallery Saskatoon, Fundacio Tapies,<br />
Digital Culture Festival, at the Museum of Contemporary Art Chicago,<br />
E-literature Festival, Primavera Sound, Agora Möbius and University<br />
of Valencia.<br />
› Res-qualia: Could consciousness evolve?, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 5.1, 35-44.<br />
Guillaume Paris is an artist and professor of artistic practice at the<br />
Ecole nationale supérieure des beaux-arts <strong>in</strong> Paris. After <strong>in</strong>itially<br />
study<strong>in</strong>g eng<strong>in</strong>eer<strong>in</strong>g at the Cooper Union <strong>in</strong> New York City, he earned<br />
his BFA from that same <strong>in</strong>stitution <strong>in</strong> 1991. He subsequently pursued<br />
his art education at the Institut des Hautes Etudes en <strong>Arts</strong> Plastiques, <strong>in</strong><br />
Paris. He has been artist <strong>in</strong> residence at the Core Program <strong>in</strong> Houston,<br />
Texas, at the Rijksakademie <strong>in</strong> Amsterdam and at the Villa Medici <strong>in</strong><br />
Rome. Paris has exhibited widely <strong>in</strong> France – with solo exhibitions at<br />
the Palais de Tokyo <strong>in</strong> Paris and the Musée d’Art Moderne et
Clare Park<br />
Keywords power, dysk<strong>in</strong>esia, theatre,<br />
movement, photography<br />
Alexander Pasko<br />
United K<strong>in</strong>gdom<br />
Keywords function representation<br />
(FRep), boundary representation<br />
(BRep), HyperFun, Fab at Home<br />
(FaH), volumetric computation<br />
Contempora<strong>in</strong> <strong>in</strong> Strasbourg – and <strong>in</strong>ternationnally, <strong>in</strong> New York,<br />
London, Tokyo, Amsterdam, Tor<strong>in</strong>o, Prague and Quebec. His work<br />
<strong>in</strong>volves a complex and contemporary negotiation of the phenomena of<br />
fetishism, reification, faith and the general <strong>in</strong>strumentalisation of<br />
magical and religious thoughts <strong>in</strong> postmodern society.<br />
› Structures of allusion, Journal of Visual Art Practice, 8.1&2, 99-117.<br />
Clare Park MA (RCA) is a creative and f<strong>in</strong>e art photographer <strong>who</strong><br />
specializes <strong>in</strong> portraiture. She explores photographic self image<br />
through the use of symbol and metaphor, hav<strong>in</strong>g begun develop<strong>in</strong>g this<br />
work as a response to personal narratives of her own life journey and<br />
her reflections upon be<strong>in</strong>g a dancer. Her strong personal style is evident<br />
<strong>in</strong> posters for theatre and dance companies such as the RNT, RSC and<br />
the ROH Covent Garden. The body, movement and collaboration are<br />
keys to Clare's work whether it be for a commissioned portrait or for a<br />
personal project.<br />
› Dance with time: Movement, when all is said and done, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.2, 205-213.<br />
Alexander Pasko is Professor at the National Centre for Computer<br />
Animation, Bournemouth University. Dr. Pasko <strong>research</strong>es the<br />
function-based modell<strong>in</strong>g of shapes <strong>in</strong> space-time and apply<strong>in</strong>g such<br />
new modell<strong>in</strong>g methods and tools <strong>in</strong> animation, sculpture and other<br />
artistic forms. His <strong>research</strong> work started <strong>in</strong> Russia, then moved to Japan<br />
<strong>in</strong> 1993 and f<strong>in</strong>ally to the United K<strong>in</strong>gdom <strong>in</strong> 2007. Along with his<br />
colleagues, Dr. Pasko has <strong>in</strong>troduced, and has cont<strong>in</strong>ued to develop, a<br />
new approach to modell<strong>in</strong>g real and abstractvolumetric objects along<br />
with their <strong>in</strong>ternal properties. Together, they have published more than<br />
100 papers <strong>in</strong> academic journals and conference proceed<strong>in</strong>gs.<br />
› Fabricat<strong>in</strong>g Nature, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2,<br />
165-173.<br />
Andrew Gryf Paterson Andrew Gryf Paterson is a Scottish artist-organizer, cultural producer<br />
and <strong>in</strong>dependant <strong>research</strong>er, based <strong>in</strong> Hels<strong>in</strong>ki, F<strong>in</strong>land. His work
Aalto University, School of Art and<br />
Design, Media Lab, Hämeentie,<br />
Hels<strong>in</strong>ki, 135 C, F<strong>in</strong>land<br />
Keywords cultural producer,<br />
<strong>in</strong>dependant <strong>research</strong>er, media art,<br />
network arts, environmental arts<br />
Ryan Patrick<br />
Keywords storytell<strong>in</strong>g, teacher,<br />
writer<br />
Mart<strong>in</strong> Patrick<br />
Keywords art critic, history, art/life<br />
divide<br />
<strong>in</strong>volves variable roles of <strong>in</strong>itiator participant, author and curator,<br />
accord<strong>in</strong>g to different collaborative and cross-discipl<strong>in</strong>ary processes.<br />
Andrew works accross the fields of media/network/environmental arts<br />
and activism, persu<strong>in</strong>g a participatory practise via workshops,<br />
performative events and storytell<strong>in</strong>g.<br />
› Stratigraphical recall: An auto-archaeological <strong>in</strong>terpretation of artistic<br />
fieldwork, Journal of Visual Art Practice, 10.1, 51-69.<br />
Patrick Ryan, Ph.D., FEA, is a storyteller, teacher and writer. Based <strong>in</strong><br />
London, he tells stories, lectures and leads workshops on storytell<strong>in</strong>g<br />
throughout the United K<strong>in</strong>gdom, as well as elsewhere <strong>in</strong> Europe and<br />
the United States. Significant storytell<strong>in</strong>g projects <strong>in</strong> community and<br />
educational arts schemes <strong>in</strong> which he has participated <strong>in</strong>clude ‘Kick<br />
<strong>in</strong>to Read<strong>in</strong>g’ with the National Literacy Trust, ‘Writ<strong>in</strong>g Together’ with<br />
the National Association of Writers <strong>in</strong> Education, and ‘Listen Up!’ with<br />
the Verbal <strong>Arts</strong> Centre. He is a Research Fellow with the George Ewart<br />
Evans Centre for Storytell<strong>in</strong>g at the University of Glamorgan.<br />
Publications <strong>in</strong>clude several articles and book chapters, the children’s<br />
anthology Shakespeare’s Storybook (Barefoot, 2001), and Storytell<strong>in</strong>g<br />
<strong>in</strong> Ireland: A Reawaken<strong>in</strong>g (Verbal <strong>Arts</strong> Centre, 1995).<br />
› Talk<strong>in</strong>g the Game: A Case Study of an Oral Narrative Project with<br />
Professional Footballers, Journal of <strong>Arts</strong> & Communities, 1.1, 79-92.<br />
Mart<strong>in</strong> Patrick, an art critic and historian, is Senior Lecturer of Critical<br />
Studies at Massey University <strong>in</strong> Well<strong>in</strong>gton, New Zealand. His<br />
writ<strong>in</strong>gs have appeared <strong>in</strong> publications <strong>in</strong>clud<strong>in</strong>g Afterimage, Art<br />
Journal, Art Monthly, and Third Text. He has taught as a Visit<strong>in</strong>g<br />
Assistant Professor at the University of Chicago. Two of his essays<br />
were <strong>in</strong>cluded <strong>in</strong> One Day Sculpture (Cross and Doherty(eds) 2009),<br />
and he is currently work<strong>in</strong>g on a book that exam<strong>in</strong>es artists <strong>who</strong> engage<br />
with the art/life divide.<br />
› Performative tactics and the choreographic re<strong>in</strong>vention of public space, Art &<br />
the Public Sphere, 1.1, 65-84.
Lissa Paul<br />
Brock University, Department of<br />
Undergraduate and Graduate Studies<br />
<strong>in</strong> Education, Department of<br />
Undergraduate and Graduate Studies<br />
<strong>in</strong> Education, Department of<br />
Education, Brock University, 500<br />
Glenridge Avenue, St. Cathar<strong>in</strong>es,<br />
Ontario, L2S 3A1, Canada<br />
Keywords<br />
Ricardo Peach<br />
Australia Council for the <strong>Arts</strong>, 372<br />
Elizabeth Street, Surry Hills, Sydney,<br />
NSW 2010, Australia<br />
Keywords queer c<strong>in</strong>ema, emerg<strong>in</strong>g<br />
artists<br />
Julia Peck<br />
Roehampton University, Media,<br />
Culture and Language, Roehampton<br />
University, Roehampton Lane,<br />
London, SW15 5PU, United K<strong>in</strong>gdom<br />
Keywords photography, Australian<br />
landscape, student support<br />
Lissa Paul is a professor at Brock University <strong>in</strong> the Niagara region of<br />
Ontario, Canada. She is the author of Read<strong>in</strong>g Otherways, (Thimble<br />
Press, 1998), The Children's Book Bus<strong>in</strong>ess, (Routledge, 2011), an<br />
associate general editor of The Norton Anthology of Children's<br />
Literature, Norton, 2005, and co-editor, with Philip Nel, of Keywords<br />
for Children's Literature (New York University Press, 2011). Supported<br />
by the Social Sciences and Humanities Council of Canada, Lissa is<br />
work<strong>in</strong>g on a biography of Eliza Fenwick (b.1766–d.1840), a late-<br />
Enlightenment British author of one adult novel and several children's<br />
books, <strong>who</strong> lived and worked for a time <strong>in</strong> Niagara and Toronto.<br />
› history.child.book.shop.2.0., Book 2.0, 1.1, 7-20.<br />
Dr. Ricardo Peach is the Program Manager of the Inter-<strong>Arts</strong> Office at<br />
the Australia Council for the <strong>Arts</strong>. He <strong>in</strong>itiated the Council’s<br />
AlloSphere artist residency at the California NanoSystems Institute <strong>in</strong><br />
the University of California, Santa Barbara; the Splendid Young and<br />
Emerg<strong>in</strong>g Artist <strong>in</strong>itiative with the music festival Splendour <strong>in</strong> the<br />
Grass; and the first government supported artist residency <strong>in</strong> Second<br />
Life. His Ph.D. thesis was on crosscultural comparatives of Queer<br />
c<strong>in</strong>ema <strong>in</strong> Australia and South Africa. Peach was born <strong>in</strong> Mpumalanga<br />
<strong>in</strong> South Africa and moved with his family to Australia <strong>in</strong> the 1980s.<br />
› Proticipation: The Australia council and social media arts <strong>in</strong> virtual worlds,<br />
Metaverse Creativity, 1.2, 223-249.<br />
Dr. Julia Peck is Senior Lecturer <strong>in</strong> Photography at Roehampton<br />
University, London. Her doctoral thesis exam<strong>in</strong>ed the visual<br />
construction of the Australian landscape <strong>in</strong> commercial photographic<br />
practices. She has a B.A. Photographic Studies from University of<br />
Derby and MA Photography from London College of Pr<strong>in</strong>t<strong>in</strong>g. Her<br />
photographic work has been exhibited <strong>in</strong> the United K<strong>in</strong>gdom and she<br />
has contributed images and reviews to Next Level, Source and History<br />
of Photography. She has over fifteen years experience teach<strong>in</strong>g across<br />
all levels of photography education, and has specific <strong>in</strong>terests <strong>in</strong><br />
Widen<strong>in</strong>g Participation and student support, especially <strong>in</strong> relation to<br />
written assignments.<br />
› Learn<strong>in</strong>g support: Student perceptions and preferences, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 9.2, 135-149.
Y.S. Peligah<br />
Tamale Polytechnic, Office of the<br />
Rector, PO Box 3ER, Tamale,<br />
Education Ridge, ER, Ghana<br />
Keywords child art, Ghana,<br />
creativity, aesthetics, education<br />
Marco Pellitteri<br />
London Metropolitan University<br />
Keywords sociology,<br />
communication, cultural <strong>in</strong>dustries,<br />
comics, animation, mass media,<br />
youths<br />
Ruth Pelzer-Montada<br />
Ed<strong>in</strong>burgh College of Art, Art and<br />
Visual Culture, 78 West Port,<br />
Ed<strong>in</strong>burgh, Scotland, EH1 2LE,<br />
United K<strong>in</strong>gdom<br />
Alhaji Dr. Y.S. Peligah was formerly the Head of Department and a<br />
Senior Lecturer at the Department of General Art Studies (Art<br />
Education), at the Kwame Nkrumah University of Science and<br />
Technology (KNUST). Currently, he is Rectorof Tamale Polytechnic.<br />
He has a BA degree <strong>in</strong> Pa<strong>in</strong>t<strong>in</strong>g as well as a postgraduate diploma and<br />
Masters degree <strong>in</strong> Art Education from KNUST. He received his Ph.D.<br />
from the University of Central England Birm<strong>in</strong>gham <strong>in</strong>1994 with a<br />
specialization <strong>in</strong> Art Therapy. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude art<br />
therapy,archetypal psychology, educational psychology and symbolism<br />
<strong>in</strong> art. As a Polytechnic Rector, he is <strong>in</strong>terested <strong>in</strong> various aspects of<br />
Technical and Vocational education <strong>in</strong> second cycle and tertiary<br />
educational <strong>in</strong>stitutions and their academic tra<strong>in</strong><strong>in</strong>g programs,<br />
particularly <strong>in</strong> Competency Based Tra<strong>in</strong><strong>in</strong>g /Education.<br />
› Enhanc<strong>in</strong>g children’s learn<strong>in</strong>g: the art perspective, International Journal of<br />
Education through Art, 5.2&3, 143-155.<br />
Marco Pellitteri (Palermo 1974), Sociologist and specialist of<br />
communication, currently a honorary <strong>research</strong> fellow at the Faculty of<br />
Applied Social Sciences of the London Metropolitan University. He<br />
has worked for the CERI (Sciences-Po) <strong>in</strong> Paris, the University of<br />
Trento, the IARD Institute (Milan), the AESVI, and is currently a<br />
consultant for the ISICULT <strong>in</strong>stitute on cultural <strong>in</strong>dustries (Rome).<br />
Author of five books on comics, animation, mass media and youths.<br />
Translator for several publishers; for Tunué publish<strong>in</strong>g house<br />
(Tunue.com) he is the scientific director of the essay series ‘Lapilli’,<br />
‘Lapilli Giganti’, ‘Le virgole’ and ‘Frizzz’. He is also the scientific<br />
director of the annual International Cartoonists’ Exhibition of Rapallo<br />
(Genoa). His doctorate thesis has won two prizes, among which the<br />
2009 ‘“John A. Lent” Scholarship <strong>in</strong> Comics Studies’, an academic<br />
award assigned by the International Comic <strong>Arts</strong> Forum. His most<br />
recent book, The Dragon and the Dazzle: Models, Strategies,<br />
› Alan Moore, Watchmen and some notes on the ideology of superhero<br />
comics, Studies <strong>in</strong> Comics, 2.1, 81-91.<br />
Dr. Ruth Pelzer-Montada is practic<strong>in</strong>g artist and lecturer <strong>in</strong> Visual<br />
Culture <strong>in</strong> the School of Art at Ed<strong>in</strong>burgh College of Art. The focus of<br />
her studio-Ph.D. was the theory/practice relationship <strong>in</strong> pr<strong>in</strong>tmak<strong>in</strong>g.<br />
She has exhibited nationally and <strong>in</strong>ternationally. Her essays on<br />
pr<strong>in</strong>tmak<strong>in</strong>g and the <strong>in</strong>terrelationship between theory and practice have<br />
been published <strong>in</strong> the Journal of Visual Art Practice, Art
Keywords <strong>research</strong> <strong>in</strong>to practice,<br />
theory-practice <strong>in</strong>terrelationship,<br />
artistic practice, <strong>in</strong>stallation art,<br />
pr<strong>in</strong>tmak<strong>in</strong>g, repetition, ornament,<br />
pattern, materiality of art,<br />
photography, Site-specificity;<br />
Performativity, viral methods,<br />
fem<strong>in</strong>ist art, body<br />
Robert Pepperell<br />
Keywords conscious art, video<br />
feedback, Zen, <strong>in</strong>f<strong>in</strong>ite regression,<br />
self-reflection<br />
Christ<strong>in</strong>e Percy<br />
University College for the Creative<br />
<strong>Arts</strong>, Faculty of Fashion and<br />
Communication, Epsom Campus,<br />
Ashley Road, Epsom, Surrey, KT18<br />
5BE, United K<strong>in</strong>gdom<br />
Keywords crit, design education,<br />
discourse, tacit learn<strong>in</strong>g, onl<strong>in</strong>e<br />
learn<strong>in</strong>g<br />
Journal, Visual Culture <strong>in</strong> Brita<strong>in</strong>, US-pr<strong>in</strong>t journal Contemporary<br />
Impressions and Norwegian pr<strong>in</strong>t journal Rapport. She has also<br />
contributed chapters to Rampley, M. (2005) Explor<strong>in</strong>g Visual Culture.<br />
Ed<strong>in</strong>burgh: Ed<strong>in</strong>burgh University Press and Coldwell, P. and Rauch, B.<br />
(2009) The Personalised Surface: New Approaches to Digital<br />
Pr<strong>in</strong>tmak<strong>in</strong>g. London: Fade Research.<br />
› Post-production or how pictures come to life or play dead, Journal of Visual<br />
Art Practice, 6.3, 229-244.<br />
› Cook<strong>in</strong>g up a Storm? ‘Post-production’ as <strong>in</strong>terpretation, Journal of Visual<br />
Art Practice, 8.1&2, 7-36.<br />
Robert Pepperell is an artist, writer and musician. A former student at<br />
UWCN, he took a postgraduate course at the Slade School of Art and<br />
went on work with a number of <strong>in</strong>fluential multimedia collaborations<br />
<strong>in</strong>clud<strong>in</strong>g Hex, Coldcut and Hexstatic. As well as produc<strong>in</strong>g<br />
experimental computer art and computer games he has published<br />
several <strong>in</strong>teractive CD-Roms and exhibited numerous digital<br />
<strong>in</strong>stallations <strong>in</strong>clud<strong>in</strong>g at the Glasgow Gallery of Modern Art, the ICA,<br />
London and the Barbican Gallery, London and the Millennium Dome,<br />
London. His first book, The Post-Human Condition, was published <strong>in</strong><br />
1995 and has now been revised as a third edition. His second book, The<br />
Postdigital Membrane is a collaboration with Michael Punt was<br />
published recently.<br />
› Towards a theory of conscious art, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 1.2, 117-134.<br />
Christ<strong>in</strong>e Percy is Dean of the Faculty of Fashion and Communication<br />
at the Surrey Institute of Art and Design, University College. She is<br />
Chair of the Faculty Research Group and <strong>in</strong>itiator of the Faculty Group<br />
for Research <strong>in</strong>to Teach<strong>in</strong>g and Learn<strong>in</strong>g. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude practice-based learn<strong>in</strong>g, and the function of draw<strong>in</strong>g <strong>in</strong> design<br />
pedagogy.<br />
› Critical absence versus critical engagement. Problematics of the crit <strong>in</strong> design<br />
learn<strong>in</strong>g and teach<strong>in</strong>g, Art, Design & Communication <strong>in</strong> Higher Education,<br />
2.3, 143-.
Col<strong>in</strong> Perry<br />
MoMA PS1, New York<br />
Keywords<br />
Kjell Yngve Petersen<br />
IT University of Copenhagen<br />
Keywords telematic, creation<br />
strategies, <strong>in</strong>stallation design,<br />
performer knowledge, human<br />
realnessaction,<br />
J. Fiona Peterson<br />
Keywords design, architecture, studio<br />
learn<strong>in</strong>g and teach<strong>in</strong>g, constructivism,<br />
scholarly teach<strong>in</strong>g, scholarship of<br />
teach<strong>in</strong>g and learn<strong>in</strong>g (SoTL)<br />
Col<strong>in</strong> Perry is a writer and editor based <strong>in</strong> London.<br />
› Modern Women: S<strong>in</strong>gle Channel, Mov<strong>in</strong>g Image Review & Art Journal<br />
MIRAJ, 1.1, 120-124.<br />
Kjell Yngve Petersen (Ph.D.), assistant professor, Innovative<br />
Communication Group, IT University of Copenhagen, Denmark. Kjell<br />
Yngve Petersen is tra<strong>in</strong>ed as an actor and theatre director, and has<br />
produced theatre, opera, performance art, <strong>in</strong>stallations arts and media<br />
arts s<strong>in</strong>ce the early 1980s. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the<br />
composition and design of <strong>in</strong>termedial performances and participatory<br />
<strong>in</strong>stallations, with a special <strong>in</strong>terest <strong>in</strong> real-time generative situations<br />
and mixed onl<strong>in</strong>e/offl<strong>in</strong>e environments <strong>in</strong> which the audience take part<br />
<strong>in</strong> perform<strong>in</strong>g the artwork. This <strong>research</strong> has a specific focus on the<br />
development of a new compositional model that <strong>in</strong>tegrates telemedia<br />
technology, and utilizes emergent and performance-based methods to<br />
explore new performance forms and expressions. The <strong>research</strong> engages<br />
with telepresence and tele-ecologies, and <strong>in</strong>volves design of acoustic<br />
and visual <strong>in</strong>terface ecologies.<br />
› Us<strong>in</strong>g performers as tools <strong>in</strong> the creation of telematic artwork, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 2.3, 147-156.<br />
› Extended theatre – composition <strong>in</strong> telematized environments, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 5.3, 151-170.<br />
› Stag<strong>in</strong>g listen<strong>in</strong>g ecologies, Design Ecologies, 1.2, 229-246.<br />
Fiona Peterson is the Deputy Head of School, Learn<strong>in</strong>g and Teach<strong>in</strong>g<br />
<strong>in</strong> the School of Creative Media at RMIT University. She has 30 years’<br />
experience as a teacher andeducational facilitator spann<strong>in</strong>g high school,<br />
vocational education and tra<strong>in</strong><strong>in</strong>g, as well as undergraduate and<br />
postgraduate higher education programs. Her backgroundis <strong>in</strong><br />
Communication Studies and she has a Ph.D, on collaborative learn<strong>in</strong>g<br />
networks. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude strategic knowledge networks,<br />
Mode 2 knowledge, virtual communities and global education.<br />
› Through the learn<strong>in</strong>g and teach<strong>in</strong>g look<strong>in</strong>g glass: What do academics <strong>in</strong> art,<br />
design and architecture publish about most?, Art, Design & Communication<br />
<strong>in</strong> Higher Education, 7.3, 135-154.
Denitsa Petrova<br />
Ed<strong>in</strong>burgh College of Art, Centre for<br />
Visual & Cultural Studies, 74<br />
Lauriston Place, Ed<strong>in</strong>burgh, EH3<br />
9DF, United K<strong>in</strong>gdom<br />
Keywords public art, report<strong>in</strong>g and<br />
propos<strong>in</strong>g, speculation, risk<br />
management<br />
Angus Phillips<br />
Oxford Brookes University, Director<br />
of Publish<strong>in</strong>g Department,<br />
Head<strong>in</strong>gton, Oxford, Oxfordshire,<br />
OX3 0BP, United K<strong>in</strong>gdom<br />
Keywords publish<strong>in</strong>g, media,<br />
<strong>in</strong>ternational students, groups<br />
Mike Phillips<br />
University of Plymouth, School of<br />
Communications and<br />
Electronics,Institue of Digital Art and<br />
Technology, Drake Circus, Plymouth,<br />
Devon, PL4 8AA, United K<strong>in</strong>gdom<br />
Keywords architecture, <strong>in</strong>telligent,<br />
operat<strong>in</strong>g system, model, <strong>in</strong>habitants<br />
Denitsa Petrova was born <strong>in</strong> 1974 <strong>in</strong> Sliven, Bulgaria. She went to an<br />
experimental class when she was at primary school, where she received<br />
40% more music and arts classes than the rest of the pupils. Her current<br />
<strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> the field of public art and more specifically<br />
relates to guerrilla art, street art activism, urban <strong>in</strong>terventions, graffiti<br />
and culture jamm<strong>in</strong>g. She is currently undertak<strong>in</strong>g a Ph.D. at the Centre<br />
of Visual and Cultural Studies at Ed<strong>in</strong>burgh College of Art. She also<br />
works as a Graduate Teach<strong>in</strong>g Assistant, contribut<strong>in</strong>g to courses<br />
relat<strong>in</strong>g to her <strong>research</strong>. She has presented at a number of <strong>in</strong>ternational<br />
conferences and as an artist has exhibited her work at various shows <strong>in</strong><br />
Bulgaria, Portugal and the United K<strong>in</strong>gdom.<br />
› How do you sleep at night?: Writ<strong>in</strong>g public art, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 2.3, 293-299.<br />
Angus Phillips, Director of the Oxford International Centre for<br />
Publish<strong>in</strong>g Studies and Head of the Publish<strong>in</strong>g Department, jo<strong>in</strong>ed<br />
Oxford Brookes University <strong>in</strong> 2003. He has an MBA from Warwick<br />
University, an MA from Oxford University, and many years experience<br />
<strong>in</strong> the publish<strong>in</strong>g <strong>in</strong>dustry <strong>in</strong>clud<strong>in</strong>g runn<strong>in</strong>g a trade and reference list at<br />
Oxford University Press. He has acted as consultant to a variety of<br />
publish<strong>in</strong>g companies, and tra<strong>in</strong>ed publish<strong>in</strong>g professionals from the<br />
United K<strong>in</strong>gdom and overseas <strong>in</strong> editorial, market<strong>in</strong>g and management.<br />
He is a member of the International Advisory Committee for the<br />
International Conference on the Book (held at Oxford Brookes <strong>in</strong> 2005)<br />
and a member of the Editorial Advisory Board for the International<br />
Journal of the Book. He has written book chapters and journal articles<br />
<strong>in</strong> the areas of the Internet, book covers, and the role of the publish<strong>in</strong>g<br />
editor.<br />
› Work<strong>in</strong>g <strong>in</strong> groups <strong>in</strong> an <strong>in</strong>ternational publish<strong>in</strong>g class, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 4.3, 173-188.<br />
Mike Phillips is the director of i-DAT (the Institute of Digital Art and<br />
Technology) at the University of Plymouth. Phillips <strong>in</strong>itiated and<br />
coord<strong>in</strong>ated the B.Sc. (Hons.) MediaLab <strong>Arts</strong> Programme (1992) and<br />
the On-L<strong>in</strong>e M.Sc. Digital Futures programme (2000) and is now<br />
oversee<strong>in</strong>g the development of i-DAT. Private- and public-sector grantfunded<br />
R&D orbits digital architectures, transmedia publish<strong>in</strong>g and<br />
generative media, projects and other work can be found on the i-DAT<br />
website at http://www.i-dat.org.
Giovanni Piazza<br />
Keywords Reggio Emilia, process,<br />
<strong>in</strong>teraction, creativity, poetics<br />
Mart<strong>in</strong> Pichlmair<br />
Vienna University of Technology,<br />
Karlsplatz 13, Vienna, 1040, Austria<br />
Keywords playfulness, game design,<br />
constra<strong>in</strong>ts, digital doma<strong>in</strong><br />
Andrew Picker<strong>in</strong>g<br />
University of Exeter, Department of<br />
› Soft Build<strong>in</strong>gs, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 2.2, 99-<br />
108.<br />
Giovanni Piazza worked as atelierista at the Villetta school <strong>in</strong> Reggio<br />
Emilia for 34 years. His special <strong>in</strong>terest is <strong>in</strong> design<strong>in</strong>g school spaces<br />
and e-learn<strong>in</strong>g environments and he is particularly <strong>in</strong>terested <strong>in</strong> the<br />
relationship between digital and traditional artistic languages. For<br />
many years he collaborated with Loris Malaguzzi, the founder of the<br />
Reggio educational experience and Carla R<strong>in</strong>aldi, a consultant to<br />
Reggio children. His projects have <strong>in</strong>cluded work with the Project Zero<br />
team at Harvard University on Mak<strong>in</strong>g Learn<strong>in</strong>g Visible, and a<br />
collaborative European project with the Lego Factory, called Atom and<br />
Bit, on children and robotics. The most recent European project<br />
focused on distance education and e-learn<strong>in</strong>g for children aged 3 to 14,<br />
teachers and parents. He now designs educational spaces and materials<br />
for the Malaguzzi International Centre.<br />
› On the wave of creativity: Children, expressive languages and technology,<br />
International Journal of Education through Art, 3.2, 103-122.<br />
Mart<strong>in</strong> Pichlmair is a media artist liv<strong>in</strong>g and work<strong>in</strong>g <strong>in</strong> Vienna,<br />
Austria. S<strong>in</strong>ce he received his doctoral degree <strong>in</strong> <strong>in</strong>formatics he works<br />
as assistant professor at the Institute of Design and Assessment of<br />
Technology at the Vienna University of Technology. His art pieces<br />
have been shown at various media art festivals and exhibitions. Recent<br />
shows <strong>in</strong>clude the Ars Electronica Festival, ISEA, Transmediale, and<br />
the Microwave International Festival for New Media Art. In his<br />
<strong>research</strong> and publications, he focuses on the theory and practice of<br />
<strong>in</strong>teractive art and design – from game design and physical <strong>in</strong>terfaces to<br />
open-source development models and community media.<br />
› Ventur<strong>in</strong>g <strong>in</strong>to the borderlands of playfulness, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 6.2, 207-212.<br />
Andrew Picker<strong>in</strong>g has a Ph.D. <strong>in</strong> particle physics and another <strong>in</strong><br />
science studies. He was for many years professor of sociology at the<br />
University of Ill<strong>in</strong>ois at Urbana-Champaign, but <strong>in</strong> 2007 he returned to
Sociology and Philosophy, Amory<br />
Build<strong>in</strong>g, Rennes Drive, Exeter,<br />
Devon, EX4 4RJ, United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>terdiscipl<strong>in</strong>arity,<br />
cybernetics, mangle, dance of agency,<br />
posthumanism, performance, arts,<br />
eng<strong>in</strong>eer<strong>in</strong>g, spirituality, taoism<br />
Analice Pillar<br />
Universidade Federal do Rio Grande<br />
do Sul, Faculdade de Educação, Av.<br />
Paulo Gama, s/n., Prédio 12201, sala<br />
700-14, Porto Alegre –RS, CEP 90<br />
046-900, Brazil<br />
Keywords art education, <strong>research</strong> <strong>in</strong><br />
education<br />
Eliza Pitri<br />
Keywords art education, children’s<br />
cognitive development, oil pa<strong>in</strong>t<strong>in</strong>g<br />
Brita<strong>in</strong> as professor of sociology and philosophy at the University of<br />
Exeter. He is the author of Construct<strong>in</strong>g Quarks: A Sociological<br />
History of Particle Physics, The Mangle of Practice: Time, Agency and<br />
Science and Kybernetik und Neue Ontologien. His latest book, Sketches<br />
of Another Future: The Cybernetic Bra<strong>in</strong>, 1940–2000, was published<br />
by the University of Chicago Press <strong>in</strong> 2010. He also edited Science as<br />
Practice and Culture and, with Keith Guzik, The Mangle <strong>in</strong> Practice:<br />
Science, Society and Becom<strong>in</strong>g, published by Duke University Press <strong>in</strong><br />
2008.<br />
› Emergence and synthesis: science studies, cybernetics and antidiscipl<strong>in</strong>arity,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.2, 127-133.<br />
Analice Pillar is Professor of Art Education at the Federal University of<br />
Rio Grande do Sul (Porto Alegre, Brazil), teach<strong>in</strong>g visual arts. She<br />
holds a Ph.D. <strong>in</strong> <strong>Arts</strong> from the University of São Paulo. She is a<br />
<strong>research</strong>er of the National Council for Scientific and Technological<br />
Development (CNPq), coord<strong>in</strong>ates the Research <strong>in</strong> Education and Art<br />
Group and is a member of the National Association of Researchers <strong>in</strong><br />
F<strong>in</strong>e <strong>Arts</strong>.<br />
› Cartoon and gender: Mascul<strong>in</strong>ities <strong>in</strong> SpongeBob, International Journal of<br />
Education through Art, 7.1, 69-79.<br />
Eliza Pitri is currently an assistant professor of Art Education at the<br />
University of Nicosia, Cyprus. Her <strong>research</strong> <strong>in</strong>terests focus on<br />
children’s cognitive development through the arts. She also cont<strong>in</strong>ues<br />
to exhibit her creative work <strong>in</strong> oil pa<strong>in</strong>t<strong>in</strong>g.<br />
› Children's funny art and the form it can take over time, International Journal<br />
of Education through Art, 7.1, 81-96.<br />
Silvia Pizzocaro Silvia Pizzocaro, Ph.D., is Senior Researcher at Politecnico di Milano.<br />
She is <strong>in</strong> charge of the activities of the operative centre of the Ph.D.<br />
programme <strong>in</strong> Industrial Design, <strong>who</strong>se aim is to support Ph.D. tra<strong>in</strong><strong>in</strong>g<br />
programmes <strong>in</strong> design, while coord<strong>in</strong>at<strong>in</strong>g the didactic <strong>in</strong>itiatives for<br />
the Ph.D. students.
Keywords Ph.D. programme,<br />
curriculum aims and <strong>in</strong>tention,<br />
<strong>research</strong> skills development<br />
Tiiu Poldma<br />
Universite de Montreal, School of<br />
Industrial Design. Faculty of<br />
Environmental Plann<strong>in</strong>g, CP 6168,<br />
Montreal, Quebec, H3C 3J7, Canada<br />
Keywords artful visual analysis,<br />
qualitative <strong>research</strong> methods, artbased<br />
<strong>research</strong>, phenomenology and<br />
design<br />
S<strong>in</strong>ikka Hannele Pöllänen<br />
University of Eastern F<strong>in</strong>land, School<br />
of Applied Educational Science and<br />
Teacher Education, F<strong>in</strong>land<br />
Keywords craft science, craft and<br />
wellbe<strong>in</strong>g, craft <strong>in</strong> special education<br />
Alex Pollard<br />
c/o Sorcha Dallas, 5–9 St Margaret’s<br />
Place, Glasgow, G1 5JY, United<br />
K<strong>in</strong>gdom<br />
Keywords samizdat, z<strong>in</strong>e, selfpublish<strong>in</strong>g<br />
› Re-orient<strong>in</strong>g Ph.D. education <strong>in</strong> <strong>in</strong>dustrial design: some issues aris<strong>in</strong>g from<br />
the experience of a Ph.D. programme revision, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 1.3, 173-194.<br />
Tiiu Poldma has practised <strong>in</strong>terior design for over twenty years and is<br />
currently assistant professor <strong>in</strong> the Interior Design programme with<strong>in</strong><br />
the School of Industrial Design at the University of Montreal. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude <strong>in</strong>terior design pedagogical processes, visual<br />
representation methods <strong>in</strong> qualitative methodology, and how design<br />
considerations are essential <strong>in</strong> everyday human experiences. She has<br />
just completed her Ph.D. where she <strong>in</strong>vestigated the phenomenological<br />
student experiences <strong>in</strong> an <strong>in</strong>terior design class.<br />
› Understand<strong>in</strong>g the value of artistic tools such as visual concept maps <strong>in</strong><br />
design and education <strong>research</strong>, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 3.3, 141-148.<br />
S<strong>in</strong>ikka Pöllänen is a Professor of Craft Science <strong>in</strong> craft teacher<br />
education at the University of Eastern F<strong>in</strong>land. Her major <strong>research</strong><br />
areas <strong>in</strong>clude craft as a substance of learn<strong>in</strong>g and teach<strong>in</strong>g, craft and<br />
well-be<strong>in</strong>g and craft <strong>in</strong> special education.<br />
› Beyond craft and art: A pedagogical model for craft as self-expression,<br />
International Journal of Education through Art, 7.2, 111-125.<br />
Alex Pollard is an artist based <strong>in</strong> Glasgow and contribut<strong>in</strong>g co-editor of<br />
Radical Vans and Carriages. He graduated with a BA <strong>in</strong> Pa<strong>in</strong>t<strong>in</strong>g from<br />
Glasgow School of Art <strong>in</strong> 1999 before serv<strong>in</strong>g on Glasgow’s<br />
Transmission Gallery committee between 2000 and 2002. He<br />
represented Scotland at the Venice Biennale <strong>in</strong> 2005. Solo shows have<br />
<strong>in</strong>cluded The Reliance, London (Dis<strong>in</strong>tegrat<strong>in</strong>g Hand and Other<br />
Works), Sorcha Dallas, Glasgow (Torch Sculptures), Talbot Rice<br />
Gallery, Ed<strong>in</strong>burgh (Black Marks) and Whitechapel Project Space<br />
(Tea-Leaf Demeanour) and The Dirty Hands (with Clare Stephenson,<br />
CCA, Glasgow). Pollard is a lecturer <strong>in</strong> F<strong>in</strong>e Art Pa<strong>in</strong>t<strong>in</strong>g and<br />
Pr<strong>in</strong>tmak<strong>in</strong>g at Glasgow School of Art and is represented by Sorcha<br />
Dallas, Glasgow.
Andrea Polli<br />
IFDM c/o College of F<strong>in</strong>e <strong>Arts</strong>, UNM<br />
Center for the <strong>Arts</strong>, Bldg 62, MSC04-<br />
2570, NM 87131, United States of<br />
America<br />
Keywords geography, locative<br />
media, meteorology, sonification,<br />
visualization<br />
Griselda Pollock<br />
University of Leeds, AHRC Centre<br />
CATH, Leeds, West Yorkshire, LS2<br />
9JT, United K<strong>in</strong>gdom<br />
Keywords natal memory, Zulu, Irma<br />
Stern, Charlotte Salomon, memorymapp<strong>in</strong>g<br />
Jo Pond<br />
Birm<strong>in</strong>gham City University, School<br />
of Jewellery, Birm<strong>in</strong>gham Institute of<br />
Art & Design, Vittoria Street,<br />
Birm<strong>in</strong>gham, B1 3PA, United<br />
K<strong>in</strong>gdom<br />
› Hampstead Revisited, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.3, 301-325.<br />
Andrea Polli is a digital media artist liv<strong>in</strong>g <strong>in</strong> New York City. She is<br />
currently an Associate Professor of Film and Media and Director of the<br />
MFA Program <strong>in</strong> Integrated Media Art at Hunter College. Polli’s work<br />
addresses issues related to science and technology <strong>in</strong> contemporary<br />
society. She has presented work nationally and <strong>in</strong>ternationally and is<br />
currently work<strong>in</strong>g <strong>in</strong> collaboration with a number of scientists to<br />
develop systems for understand<strong>in</strong>g storms and climate through sound.<br />
For this work, she has been recognized by the UNESCO Digital <strong>Arts</strong><br />
Award 2003 and has presented work <strong>in</strong> the 2004 Ogaki Biennale <strong>in</strong><br />
Gifu, Japan and at the World Summit on the Information Society <strong>in</strong><br />
Geneva, Switzerland.<br />
› Eco-media: art <strong>in</strong>formed by developments <strong>in</strong> ecology, media technology and<br />
environmental science, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
5.3, 187-.<br />
Griselda Pollock is Professor of Social and Critical Histories of Art and<br />
Director of AHRC Centre CATH at the University of Leeds. She<br />
specializes <strong>in</strong> cultural analysis and fem<strong>in</strong>ist postcolonial <strong>in</strong>terventions<br />
<strong>in</strong> art’s histories with particular reference to psychoanalysis and<br />
aesthetics. Her forthcom<strong>in</strong>g books <strong>in</strong>clude Theatre of Memory:<br />
Charlotte Salomon (Yale) and Encounters <strong>in</strong> the Virtual Fem<strong>in</strong>ist<br />
Museum (Routledge).<br />
› Back to Africa: from Natal to natal <strong>in</strong> the locations of memory, Journal of<br />
Visual Art Practice, 5.1, 49-72.<br />
After work<strong>in</strong>g at Loughborough University as a Technical Instructor,<br />
Jo Pond returned to education, graduat<strong>in</strong>g <strong>in</strong> 2005 with an MA<br />
dist<strong>in</strong>ction <strong>in</strong> Jewellery, Silversmith<strong>in</strong>g & Related Products, from the<br />
School of Jewellery, Birm<strong>in</strong>gham. She subsequently won the 2005 BDI<br />
Industry & Genius Awards for ‘Products and Genius’. Alongside her<br />
practice as a studio jeweller, Jo now works as a lecturer at the School<br />
of Jewellery and is a member of Contemporary Applied <strong>Arts</strong>.
Keywords mental health, narrative,<br />
jewellery, Wabi-Sabi › Narrative jewellery: The journey, Journal of Applied <strong>Arts</strong> & Health, 1.3,<br />
309-319.<br />
Matthew Poole<br />
University of Essex, Centre for<br />
Curatorial Studies, Department of Art<br />
History & Theory, Wivenhoe Park,<br />
Colchester, Essex, CO4 3SQ, United<br />
K<strong>in</strong>gdom<br />
Keywords contemporary art,<br />
curatorial studies, philosophy and<br />
critical theory, neo-pragmatism, nonidealist<br />
materialism, atelic realism<br />
James Pope<br />
Bournemouth University, Media<br />
School, Fern Barrow, Poole, BH12<br />
5BB, United K<strong>in</strong>gdom<br />
Keywords digital fiction, <strong>in</strong>teractive<br />
fiction, new-media design tools,<br />
pedagogy<br />
Matthew Poole is Director of the Centre for Curatorial Studies at The<br />
University of Essex, Colchester, United K<strong>in</strong>gdom. As well as lectur<strong>in</strong>g,<br />
Matthew works as a freelance curator and collaborates with a wide<br />
variety of contemporary artists. He has experience work<strong>in</strong>g for a<br />
number of arts organisations and galleries both <strong>in</strong> the public and<br />
private sectors. Matthew is also a co-founder and currently a Director<br />
of PILOT, an <strong>in</strong>ternational contemporary artists' & curators' forum and<br />
onl<strong>in</strong>e archive (www.pilotlondon.org), is a Director of PoCA (Political<br />
Currency of Art Research Group), and a found<strong>in</strong>g Director of the<br />
<strong>research</strong> group Curat<strong>in</strong>g Video (www.curat<strong>in</strong>gvideo.com).<br />
› Book Review, Journal of Visual Art Practice, 8.3, 241-253.<br />
› Anti-Humanist curat<strong>in</strong>g: F<strong>in</strong>d<strong>in</strong>g a way further <strong>in</strong>, Journal of Visual Art<br />
Practice, 9.2, 91-101.<br />
Dr. James Pope is a senior lecturer <strong>in</strong> English, Media and<br />
Communications at the Media School, Bournemouth University. He<br />
has been teach<strong>in</strong>g <strong>in</strong> Further and Higher Education for over 25 years,<br />
with a cont<strong>in</strong>u<strong>in</strong>g <strong>in</strong>terest <strong>in</strong> how digital media may be chang<strong>in</strong>g<br />
narrative forms, and read<strong>in</strong>g and writ<strong>in</strong>g practices. He has specific<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong> <strong>in</strong>teractive fiction, reader response studies, the<br />
teach<strong>in</strong>g of creative writ<strong>in</strong>g <strong>in</strong> digital media environments, and<br />
children’s literature. As well as several recent publications around his<br />
<strong>research</strong> <strong>in</strong>to readers’ reactions to the forms and delivery platforms of<br />
<strong>in</strong>teractive fiction, James has also published six novels for children and<br />
teenagers, <strong>in</strong>clud<strong>in</strong>g Sp<strong>in</strong> The Bottle (Pengu<strong>in</strong>), which was listed as<br />
oneof the best teenage novels of 1998 by the Federation of Children’s<br />
Book Groups.<br />
› The design and development of Genarrator at Bournemouth University, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 8.2, 157-167.<br />
Nicole Porter Nicole Porter is a Lecturer <strong>in</strong> Landscape Architecture at the University
University of Canberra, 14/16 Sexton<br />
Street, Cook, Australian Capital<br />
Territory, 2614, Australia<br />
Keywords nature, culture, media,<br />
design, landscape<br />
Jason Potts<br />
Keywords <strong>in</strong>tellectual property,<br />
creative <strong>in</strong>dustries, economic<br />
evolution, Ch<strong>in</strong>a<br />
John Potv<strong>in</strong><br />
Keywords<br />
of Canberra, Australia, where she teaches the theoretical and<br />
professional aspects of landscape and urban design. Her Ph.D. thesis,<br />
The promotion and production of contemporary landscape, <strong>in</strong>terrogates<br />
the cultural construction of landscape as practiced by contemporary<br />
creative <strong>in</strong>dustries, <strong>in</strong>clud<strong>in</strong>g landscape architecture, place brand<strong>in</strong>g<br />
and new media communications. She is also work<strong>in</strong>g with<strong>in</strong><br />
government as an urban designer.<br />
› Experienc<strong>in</strong>g contemporary nature: virtual and physical designed landscapes<br />
of the Blue Mounta<strong>in</strong>s, Australia, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.2, 149-158.<br />
Jason Potts is an evolutionary economist at the ARC Centre of<br />
Excellence for Creative Industries and Innovation, Queensland<br />
University of Technology and an honorary visit<strong>in</strong>g senior <strong>research</strong><br />
fellow at City University London. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude:<br />
history of economic thought; evolutionary microeconomics and multiagent<br />
simulation modell<strong>in</strong>g; complexity theory; the economics of<br />
technological and <strong>in</strong>stitutional change; Post-Keynesian monetary<br />
theory; the theory of expectations and learn<strong>in</strong>g; the theory of the firm;<br />
Post-Schumpeterian economics and algorithmic dynamics; the theory<br />
of networks and applications of graph theory; the connective and<br />
structural geometry of economic space. The <strong>research</strong> <strong>in</strong>terests broadly<br />
align with all theoretical topics that address the phenomenon of<br />
economic evolution.<br />
› Does weaker copyright mean stronger creative <strong>in</strong>dustries? Some lessons from<br />
Ch<strong>in</strong>a, Creative Industries Journal, 1.3, 245-261.<br />
John Potv<strong>in</strong> is Associate Professor of European Art and Design History<br />
at the University of Guelph, Canada. He is the author of Material and<br />
Visual Cultures Beyond Male Bond<strong>in</strong>g, 1880-1914 (2008), editor of<br />
The Places and Spaces of Fashion, 1800-2007 (2009), and co-editor of<br />
both Material Cultures, 1740-1920 (2009) and Fashion, Interior Design<br />
and the Contours of Modern Identity (2010). He is also the author of<br />
the upcom<strong>in</strong>g Giorgio Armani: Empire of the Senses (2012), and is<br />
currently prepar<strong>in</strong>g a manuscript that explores the aesthetics of samesex<br />
companions, modernism and domesticity <strong>in</strong> Brita<strong>in</strong>, Bachelors of a<br />
Different Sort: Queer Aesthetics, Material Culture and the Modern<br />
Interior.<br />
› Fashion and the Art Museum: When Giorgio Armani Went to the
Gilbertto Prado<br />
University of Sao Paulo, Department<br />
of Visual <strong>Arts</strong>, School of<br />
Communications and <strong>Arts</strong>, Brazil<br />
Keywords complexity and<br />
organization, <strong>in</strong>teractive <strong>in</strong>stallation,<br />
digital art <strong>in</strong>stallations, complex<br />
adaptive systems, systemic measures<br />
Julieanna Preston<br />
Massey University, Institute of<br />
Design for Industry and Environment,<br />
College of Creative <strong>Arts</strong>, PO Box<br />
756/ Old Museum, Buckle Street,<br />
Well<strong>in</strong>gton, 6140, New Zealand<br />
Keywords design process, systems of<br />
<strong>in</strong>quiry, design articulation, design<br />
media, design writ<strong>in</strong>g<br />
Ross W. Prior<br />
University of Northampton, Avenue<br />
Campus, St George's Avenue,<br />
Northampton, NN2 6JD, United<br />
K<strong>in</strong>gdom<br />
Guggenheim, Journal of Curatorial Studies, 1.1, 47-63.<br />
Gilbertto Prado is a Multimedia artist. He started his artistic activities<br />
<strong>in</strong> the end of the 1970s, tak<strong>in</strong>g part <strong>in</strong> the Mail Art movement and<br />
participat<strong>in</strong>g <strong>in</strong> several exhibitions and projects. Gilbertto studied<br />
Eng<strong>in</strong>eer<strong>in</strong>g and Visual <strong>Arts</strong> at the Unicamp (University of Camp<strong>in</strong>as –<br />
São Paulo). In 1994 he obta<strong>in</strong>ed his doctoral degree <strong>in</strong> <strong>Arts</strong> at the<br />
University of Paris I – Sorbonne. He was an Invited Professor at<br />
University of Paris 8 (03/2004 and 03/2006), and s<strong>in</strong>ce 2001 has been<br />
Professor and Head of the post-graduation programme <strong>in</strong> Visual <strong>Arts</strong> <strong>in</strong><br />
the Department of Visual <strong>Arts</strong>, ECA/USP – School of Communications<br />
and <strong>Arts</strong>, University of Sao Paulo, Brazil.<br />
› Complex <strong>in</strong>stallations: shar<strong>in</strong>g consciousness <strong>in</strong> a cybernetic ballet,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2, 159-165.<br />
Julieanna Preston’s <strong>research</strong> crosses between theory and creative<br />
practice <strong>in</strong> the fields of design, architecture, spatial design and art<br />
<strong>in</strong>stallation. Julieanna is known <strong>in</strong>ternationally for her contributions <strong>in</strong><br />
the areas of <strong>research</strong> through creative practice or design-led <strong>research</strong>.<br />
Tak<strong>in</strong>g a dist<strong>in</strong>ctive <strong>in</strong>terdiscipl<strong>in</strong>ary approach, her <strong>research</strong> draws<br />
from geography, landscape studies, architecture, fem<strong>in</strong>ist studies,<br />
design history, social science philosophy and f<strong>in</strong>e arts. Her role <strong>in</strong> the<br />
Institute capitalizes on her commitment to design’s capacity to expand<br />
knowledge through its creative processes and its attention to<br />
contextualized situations <strong>in</strong>clud<strong>in</strong>g those only temporally evident.<br />
› Writ<strong>in</strong>g through design, an active practice, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 3.1, 45-62.<br />
Ross Prior is a pr<strong>in</strong>cipal lecturer <strong>in</strong> Drama and Act<strong>in</strong>g at the University<br />
of Northampton. Educated <strong>in</strong> Australia, he took his first degree at<br />
Deak<strong>in</strong> University, his MA at the University of Melbourne and his<br />
Ph.D. at Griffith University. He has recently been <strong>in</strong>volved <strong>in</strong> a<br />
government survey of actor tra<strong>in</strong><strong>in</strong>g <strong>in</strong> England.
Keywords tacit knowledge,<br />
community music, practice,<br />
synnoetics<br />
Robert Pulley<br />
West Dean College, West Sussex,<br />
PO18 0QZ, United K<strong>in</strong>gdom<br />
Keywords three-dimensional design,<br />
craft<br />
Michael Punt<br />
Keywords early c<strong>in</strong>ema, postdigital<br />
analogue, science, transdiscipl<strong>in</strong>ary,<br />
play orbit, toys<br />
Malcolm Qu<strong>in</strong>n<br />
University of the <strong>Arts</strong> London, CCW<br />
Graduate School, Wimbledon College<br />
› Editorial, Journal of Applied <strong>Arts</strong> & Health, 1.3, 237-239.<br />
› EDITORIAL, Journal of Applied <strong>Arts</strong> & Health, 2.1, 3-5.<br />
Robert Pulley is Pr<strong>in</strong>cipal of West Dean College, an <strong>in</strong>ternational<br />
postgraduate centre of the arts and a partner college of the University<br />
of Sussex. He was formerly Dean of Art and Design at Falmouth<br />
College of <strong>Arts</strong> and, prior to that, Subject Leader for Three-<br />
Dimensional Design at Ravensbourne College of Design and<br />
Communication. After graduat<strong>in</strong>g from the Royal College of Art he ran<br />
his own design studio and manufactur<strong>in</strong>g company. Pulley is a member<br />
of the Craft Research journal advisory board and of the design th<strong>in</strong>k<br />
tank Salon.<br />
› Feel<strong>in</strong>g good, Craft Research, 2.1, 97-114.<br />
Michael Punt is Professor of Art and Technology and Convenor of<br />
Transtechnology Research at the University of Plymouth and is also<br />
Editor-<strong>in</strong>-Chief of Leonardo Reviews. He has made fifteen films and<br />
published over 80 articles on c<strong>in</strong>ema and digital media <strong>in</strong> the last<br />
decade. He ga<strong>in</strong>ed his Ph.D. at the University of Amsterdam (Early<br />
C<strong>in</strong>ema and the Technological Imag<strong>in</strong>ary, 2000) His key articles have<br />
been published <strong>in</strong>: The Velvet Light Trap, Leonardo, Design Issues and<br />
Convergence. His most recent book, Screen<strong>in</strong>g Consciousness: C<strong>in</strong>ema<br />
M<strong>in</strong>d World (Rodopi 2006), edited with Robert Pepperell, follows their<br />
earlier collaboration, The Post-digital Membrane: Imag<strong>in</strong>ation,<br />
Technology and Desire (<strong>Intellect</strong> Books 2000/03).<br />
› A post-digital universe, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
1.3, 191-200.<br />
› Play Orbit: a play on the history of play, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 6.2, 135-148.<br />
Dr. Malcolm Qu<strong>in</strong>n is Reader <strong>in</strong> Critical Practice <strong>in</strong> the CCW<br />
(Camberwell, Chelsea and Wimbledon) Graduate School, University of<br />
the <strong>Arts</strong> London. His current <strong>research</strong> is engaged with the role of UK<br />
government, museums and the early publicly funded art school, <strong>in</strong> the
of Art, Merton Hall Rd, London,<br />
SW19 3QA, United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>tellectual history,<br />
aesthetics and politics, political<br />
economy of art and design,<br />
psychoanalysis<br />
Christoph Raatz<br />
Keywords reflective practice,<br />
dyslexia, mature students,<br />
<strong>in</strong>ternational students, learn<strong>in</strong>g styles<br />
Imogen Racz<br />
Coventry University, Design and<br />
Visual <strong>Arts</strong>, Priory Street, Coventry,<br />
CV1 5FB, United K<strong>in</strong>gdom<br />
Keywords Laibe, vessel, skill,<br />
ceramic, exhibitions<br />
Natascha Radclyffe-<br />
Thomas<br />
Villa Maria College, New York,<br />
United States of America<br />
development of a unified language for art and design activity through<br />
an engagement with public culture and <strong>in</strong>dustrial capital, follow<strong>in</strong>g the<br />
Reform Bill of 1832.<br />
› Critique Conscious and Unconscious:Listen<strong>in</strong>g to the Barbarous Language of<br />
Art and Design, Journal of Visual Art Practice, 7.3, 225-240.<br />
Christoph Raatz studied B.Sc. (Econ.) Economics and MA Economic<br />
History at the London School of Economics (LSE). Follow<strong>in</strong>g a brief<br />
period <strong>in</strong> market<strong>in</strong>g consult<strong>in</strong>g, he returned to the LSE as the<br />
coord<strong>in</strong>ator of a European Commission-f<strong>in</strong>anced, <strong>in</strong>ternational <strong>research</strong><br />
project. In 2003, he jo<strong>in</strong>ed Goldsmiths College as the project officer of<br />
the Writ<strong>in</strong>g PAD project.<br />
› Writ<strong>in</strong>g Purposefully <strong>in</strong> Art and Design (Writ<strong>in</strong>g PAD), Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 89-102.<br />
Imogen Racz is Contextual studies Coord<strong>in</strong>ator at Coventry University,<br />
where she lectures on both f<strong>in</strong>e and applied arts. She ga<strong>in</strong>ed her Ph.D.<br />
at the University of Newcastle for her work on the cubist sculptor<br />
Henri Laurens. Her current <strong>research</strong> spans post war craft and sculptural<br />
practice, with an emphasis on process, materials and cultural<br />
environment. Her book Contemporary Crafts, which was published by<br />
Berg <strong>in</strong> 2009, explores craft practice <strong>in</strong> America and England <strong>in</strong> the<br />
context of the environment and particular cultural myths associated<br />
with the city and the country. Her new area of <strong>research</strong>, which has<br />
developed from this, relates to the contemporary vessel, which<br />
references the domestic environment and its associated rituals.<br />
› Sculptural vessels across the great divide: Tony Cragg's Laibe and the<br />
metaphors of clay, Journal of Visual Art Practice, 8.3, 215-227.<br />
Natascha Radclyffe-Thomas was a partner <strong>in</strong> fashion-forward<br />
childrenswear company ‘Miss Fleur’ and lectured <strong>in</strong> fashion and related<br />
subjects, both studio-based and theoretical, for over ten years <strong>in</strong><br />
London College of Fashion, Croydon College and Lewisham College<br />
before relocat<strong>in</strong>g to Hong Kong and work<strong>in</strong>g for the University of the
Keywords creativity, <strong>in</strong>tercultural<br />
communication, learn<strong>in</strong>g culture,<br />
stereotypes<br />
Maziar Rae<strong>in</strong><br />
Kunsthogskolen i Oslo, Faculty of<br />
Design, Postboks 6853, St. Olavs<br />
plass, Oslo, 130, Norway<br />
Keywords reflective practice,<br />
dyslexia, mature students,<br />
<strong>in</strong>ternational students, learn<strong>in</strong>g styles<br />
Jan-Henn<strong>in</strong>g Raff<br />
Heckmannufer 4<br />
<strong>Arts</strong> London International Centre as an In-country Student Advisor and<br />
teach<strong>in</strong>g fashion and textile design at the Hong Kong Design Institute.<br />
Currently liv<strong>in</strong>g <strong>in</strong> New York teach<strong>in</strong>g fashion and related subjects at<br />
Villa Maria College whilst study<strong>in</strong>g for a Doctorate <strong>in</strong> Education with<br />
Durham University; Natascha’s <strong>research</strong> <strong>in</strong>terests are <strong>in</strong>tercultural<br />
creativity, <strong>in</strong>novative pedagogies and the use of technology <strong>in</strong> art and<br />
design education.<br />
› Intercultural chameleons or the Ch<strong>in</strong>ese way? Ch<strong>in</strong>ese students <strong>in</strong> Western<br />
art and design education, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 6.1, 41-56.<br />
Maziar Rae<strong>in</strong> studied F<strong>in</strong>e Art BA (Hons.) at Central Sa<strong>in</strong>t Mart<strong>in</strong>s<br />
College of Art (CSM). After college he made a number of short films,<br />
which were shown both nationally and <strong>in</strong>ternationally. Subsequently,<br />
he returned to CSM to study on the MA Independent F<strong>in</strong>e Art Film<br />
course, dur<strong>in</strong>g which time he received an <strong>Arts</strong> Council Film Award and<br />
wrote a drama, commissioned and broadcast by Channel 4. He then<br />
formed his own <strong>in</strong>dependent production company, Underwater<br />
Productions, which specialized <strong>in</strong> arts documentaries for the BBC and<br />
Channel 4. S<strong>in</strong>ce the early 1990s, he has been teach<strong>in</strong>g on the BA<br />
Graphics course, devis<strong>in</strong>g the Context programme, dur<strong>in</strong>g which time<br />
he also tra<strong>in</strong>ed as a specialist tutor <strong>in</strong> dyslexia. As such, he has<br />
published and worked on projects, which focus on positive aspects of<br />
visual and spatial ability.<br />
› Writ<strong>in</strong>g Purposefully <strong>in</strong> Art and Design (Writ<strong>in</strong>g PAD), Art, Design &<br />
Communication <strong>in</strong> Higher Education, 3.2, 89-102.<br />
› Integration of studio and theory <strong>in</strong> the teach<strong>in</strong>g of graphic design, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 3.3, 163-174.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 7.1, 45-54.<br />
› Walk<strong>in</strong>g with wolves: display<strong>in</strong>g the hold<strong>in</strong>g pattern, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 1.1, 33-46.<br />
› 11th European League Institutes of the <strong>Arts</strong> Biennial Conference: HEARTH<br />
l'art au coeur du territoire<br />
› Nantes, France, 2730 October 2010, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
3.2, 181-184.<br />
Jan-Henn<strong>in</strong>g Raff holds a diploma <strong>in</strong> communication design from<br />
Kunsthochschule Berl<strong>in</strong> Weissensee (Germany). He has been <strong>research</strong><br />
assistant at the media centre of Technische Universität Dresden
Keywords distributed cognition,<br />
design, cognition, practice, everyday<br />
design<br />
Antti Raike<br />
Aalto University, Media department,<br />
Hämeentie 135 C, PL31000, Hels<strong>in</strong>ki,<br />
76, F<strong>in</strong>land<br />
Keywords art education, Computer<br />
Supported Collaborative Learn<strong>in</strong>g,<br />
design <strong>research</strong>, film studies,<br />
<strong>in</strong>clusion<br />
Mr<strong>in</strong>al<strong>in</strong>i Rajagopalan<br />
University of Pittsburgh, Department<br />
of the History of Art and Architecture<br />
at the University of Pittsburgh<br />
Keywords<br />
(Germany) where he has built up and headed the department of media<br />
design. Currently he is work<strong>in</strong>g at the German Society for Design<br />
Theory and Research (DGTF) and f<strong>in</strong>ish<strong>in</strong>g his Ph.D. thesis on<br />
everyday design practices of student learners. His <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude design <strong>research</strong>, technology enhanced learn<strong>in</strong>g, and<br />
usability/user experience.<br />
› Everyday Practice as Design, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.2,<br />
149-159.<br />
Doctor of <strong>Arts</strong> (DA) Antti Raike works as a post-doctoral <strong>research</strong>er at<br />
the Media department of the Aalto University School of Art and<br />
Design, and leads the three-year project ‘VIPP – Visual Innovations for<br />
Inclusive Projects with Diverse Participants’ (2008--2010) funded by<br />
the Academy of F<strong>in</strong>land. Projects led by Raike have been connected to<br />
film studies and the general aim of <strong>in</strong>clusion, for a shared and open<br />
university, which should adapt flexibly to the needs of different<br />
students. The aim of his doctoral dissertation was to produce an<br />
accessible web-based study product 'C<strong>in</strong>emaSense', as well as to<br />
clarify, <strong>in</strong> support of the production, the sign-language students’<br />
deepen<strong>in</strong>g of knowledge and conceptualization related to the subject of<br />
c<strong>in</strong>ematic expression, as well as their collaboration dur<strong>in</strong>g the webbased<br />
course.<br />
› Concept maps <strong>in</strong> the design of an accessible C<strong>in</strong>emaSense service, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 8.1, 27-55.<br />
Mr<strong>in</strong>al<strong>in</strong>i Rajagopalan is Assistant Professor <strong>in</strong> the Department of the<br />
History of Art and Architecture at the University of Pittsburgh. Her<br />
work focuses on the colonial legacies of architectural preservation <strong>in</strong><br />
the Indian subcont<strong>in</strong>ent. She is currently work<strong>in</strong>g on a manuscript on<br />
this topic titled 'Build<strong>in</strong>g Histories: The Social Lives of Delhi's<br />
Monuments from Imperial Pasts to Postcolonial Presents'. She is also<br />
the co-editor of the forthcom<strong>in</strong>g volume, Colonial Frames, Nationalist<br />
Histories: Imperial Legacies, Architecture and Modernity (Ashgate,<br />
2012). Prior to jo<strong>in</strong><strong>in</strong>g the faculty at the University of Pittsburgh,<br />
Rajagopalan held fellowships at New York University, the Aga Khan<br />
Program for Islamic Architecture at MIT and the South Asian Studies<br />
Council at Yale University.<br />
› CONFERENCE PRECIS, International Journal of Islamic Architecture, 1.1,
Barbara Rauch<br />
Ontario College of Art and Design -<br />
University of the <strong>Arts</strong> London, Digital<br />
Futures, Toronto, Canada<br />
Keywords creative th<strong>in</strong>k<strong>in</strong>g,<br />
daydream, lim<strong>in</strong>al state, unconscious<br />
dream, m<strong>in</strong>dset<br />
Matthias Rauterberg<br />
Keywords Nobel Prize <strong>in</strong> Physics,<br />
<strong>in</strong>ventions, discoveries, global<br />
warm<strong>in</strong>g social application<br />
Ti<strong>in</strong>a Rautkorpi<br />
Hels<strong>in</strong>ki Polytechnic, Research and<br />
development, PO Box 4032, Hels<strong>in</strong>ki,<br />
FIN-00099, F<strong>in</strong>land<br />
Keywords mentor<strong>in</strong>g, culture,<br />
179-189.<br />
Barbara Rauch is a Research Fellow engaged <strong>in</strong> <strong>research</strong>-led practice.<br />
She has recently completed a practice-led exploration of dream<strong>in</strong>g and<br />
onl<strong>in</strong>e virtual environments. Her <strong>in</strong>terest lies <strong>in</strong> the neuroscientific<br />
model of the unconscious bra<strong>in</strong> and the non-l<strong>in</strong>earity apparent with<strong>in</strong><br />
dream<strong>in</strong>g narratives. She has created a set of works explor<strong>in</strong>g this area<br />
of <strong>research</strong> <strong>in</strong> comparison to VR models <strong>in</strong> the World Wide Web. She<br />
is currently work<strong>in</strong>g on a project concerned with animal and human<br />
facial expressions, draw<strong>in</strong>g on 3D laser scann<strong>in</strong>g devices. This project<br />
aims to further explore how digital technology can alter the way we<br />
usually impose our human understand<strong>in</strong>g of the world onto other<br />
systems <strong>in</strong>clud<strong>in</strong>g digital forms of VR systems.<br />
› A merg<strong>in</strong>g of m<strong>in</strong>dsets through collision and collusion, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 5.1, 55-.<br />
Matthias Rauterberg is the head of the Designed Intelligence <strong>research</strong><br />
group a the Department of Industrial Design at the E<strong>in</strong>dhoven<br />
University of Technology. He has chaired a number of Technical<br />
Committees of the International Federation of Information Process<strong>in</strong>g.<br />
He was also Visit<strong>in</strong>g Professor at Kwansei Gaku<strong>in</strong> University <strong>in</strong> Japan.<br />
In 1998 he was awarded the Swiss Technology Award for the BUILD-<br />
IT system, and has over 250 publications <strong>in</strong> <strong>in</strong>ternational journals<br />
(several of which he is on the editorial board for), conference<br />
proceed<strong>in</strong>gs, and books.<br />
› The asymmetry between discoveries and <strong>in</strong>ventions <strong>in</strong> the Nobel Prize <strong>in</strong><br />
Physics, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.1, 73-77.<br />
Ti<strong>in</strong>a Rautkorpi is Senior Lecturer of Media at Hels<strong>in</strong>ki Polytechnic,<br />
F<strong>in</strong>land. She worked as a radio and TV journalist and documentary<br />
director for ten years. S<strong>in</strong>ce then she has been employed as Lecturer <strong>in</strong><br />
Education Plann<strong>in</strong>g and Management <strong>in</strong> the Department of Visual and<br />
Media <strong>Arts</strong>. She is <strong>in</strong>terested <strong>in</strong> comb<strong>in</strong><strong>in</strong>g <strong>in</strong>dustry and bus<strong>in</strong>essoriented<br />
<strong>research</strong> and development with art pedagogy <strong>in</strong> adult<br />
education; and her ma<strong>in</strong> <strong>research</strong> topic is the use of art pedagogy,
mean<strong>in</strong>g, creative economy, education developmental work and <strong>research</strong> methods <strong>in</strong> journalistic production.<br />
Christ<strong>in</strong>a Read<strong>in</strong>g<br />
The University of Brighton, School of<br />
Humanities, University of Brighton,<br />
Checkland Build<strong>in</strong>g, Falmer,<br />
Brighton, BN1 9PH, United K<strong>in</strong>gdom<br />
Keywords design students, higher<br />
education, phenomenography,<br />
learn<strong>in</strong>g and teach<strong>in</strong>g, <strong>in</strong>spiration<br />
Helena Reckitt<br />
Keywords<br />
Beverly Redman<br />
Urs<strong>in</strong>us College, Theatre and Dance,<br />
Urs<strong>in</strong>us College, 601 East Ma<strong>in</strong><br />
Street, Collegeville, PA 19426,<br />
United States of America<br />
Keywords voice, speech, dramatic<br />
literature, theatre history, performance<br />
studies<br />
› Mentor<strong>in</strong>g <strong>in</strong> the creative economy, International Journal of Education<br />
through Art, 3.3, 231-241.<br />
Christ<strong>in</strong>a Read<strong>in</strong>g jo<strong>in</strong>ed the Faculty of <strong>Arts</strong> at the University of<br />
Brighton <strong>in</strong> November 2007 to work as a Research Fellow on a project<br />
to <strong>in</strong>vestigate how art and design students learn from museum<br />
collections. She also works on a Heritage Lottery-funded Life History<br />
Project designed to celebrate the centenary of the Duke of York’s’<br />
C<strong>in</strong>ema.<br />
› Sources of <strong>in</strong>spiration: How design students learn from museum collections<br />
and other sources of <strong>in</strong>spiration, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 8.2, 109-121.<br />
› CLTAD International Conference, 1213 April 2010, Berl<strong>in</strong> Creative<br />
partnerships: Help<strong>in</strong>g creative writ<strong>in</strong>g and visual practice students to make<br />
l<strong>in</strong>ks between their creative processes and their personal, vocational and<br />
academic development, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 285-<br />
298.<br />
› Exhibition Reviews, Journal of Curatorial Studies, 1.1, 101-116.<br />
Beverly Redman is an Assistant Professor of Theatre at Urs<strong>in</strong>us<br />
College, where she directs and teaches voice and speech, dramatic<br />
literature, theatre history and performance studies courses. Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude radical American Theatre and its relationship to the<br />
shift <strong>in</strong> sensibility from Modernism to Postmodernism, with especial<br />
attention to the history of theatre communities of the 1960s and the<br />
organizational structures they developed to survive. She holds a Ph.D.<br />
<strong>in</strong> dramatic literature and theory from the jo<strong>in</strong>t-campus program of the<br />
University of California, Irv<strong>in</strong>e and San Diego campuses, and an MFA<br />
<strong>in</strong> Direct<strong>in</strong>g from the University of California, Irv<strong>in</strong>e.
Joanna Rees<br />
The School of Art and Design, 408 E.<br />
Peabody Drive, Room 143,<br />
Champaign, Ill<strong>in</strong>ois, 61820, United<br />
States of America<br />
Keywords <strong>research</strong>, lead<strong>in</strong>g scholars,<br />
art education, Canada<br />
Brian Reff<strong>in</strong> Smith<br />
École Nationale Superieure d'Art, BP<br />
297, 7 rue Edouard Branley, Bourges,<br />
Cedex, F-18006, France<br />
Keywords zombie, art, computer,<br />
performance, constra<strong>in</strong>t<br />
Anna Reid<br />
Macquarrie University, Centre for<br />
Prof. Development, Sydney, NSW<br />
2109, Australia<br />
Keywords engagement, creativity,<br />
identity, learn<strong>in</strong>g<br />
› Project Report, Journal of <strong>Arts</strong> & Communities, 1.3, 279-288.<br />
Joanna Rees is an Art Education Ph.D. student at National Taiwan<br />
Normal University (NTNU) <strong>in</strong> Taipei, Taiwan. Her Ph.D. dissertation<br />
concerns crosscultural <strong>research</strong> <strong>in</strong> Hong Kong, Korea, and Taiwan. For<br />
the past three years she has worked as an <strong>in</strong>structor teach<strong>in</strong>g visual<br />
culture at Huafan University <strong>in</strong> Taipei County. At NTNU, Rees works<br />
closely with her supervisor Dr. Ann Kuo and was responsible for<br />
adm<strong>in</strong>istrat<strong>in</strong>g the 2008 World Creativity Summitand its proceed<strong>in</strong>gs.<br />
› Art education <strong>in</strong> Canada: reflections from scholars impact<strong>in</strong>g the field,<br />
International Journal of Education through Art, 6.1, 25-40.<br />
Brian Reff<strong>in</strong> Smith studied at Brunel University and the Royal College<br />
of Art, London. He is currently Professeur, Atelier Art et Info, École<br />
Nationale Supérieure d'Art, Bourges, France. He lives and works as an<br />
artist and writer <strong>in</strong> Berl<strong>in</strong>, Germany, and is the author of eight books<br />
about computers and/or art, and numerous articles contributions to<br />
books and journals. His artworks are exhibited and performances given<br />
<strong>in</strong>ternationally. He is represented by Krammig & Pepper, Berl<strong>in</strong>. He<br />
won the first ever Prix Ars Electronica, L<strong>in</strong>z, Austria, 1987. He is<br />
Regent of the College de 'Pataphysique, Paris, France, hold<strong>in</strong>g the<br />
Chair of Catachemistry and Computational Metallurgy, and is a<br />
member of the artists' group OuPe<strong>in</strong>Po, Paris.<br />
› Constra<strong>in</strong>t is freedom. An application of zombie to certa<strong>in</strong> aspects of art and<br />
cognitive psychology, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
4.1, 55-.<br />
Anna Reid is Associate Professor at Macquarie University, where she<br />
is responsible for the Research Development Programme. She has<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong> the discipl<strong>in</strong>e areas of music, law, statistics,<br />
mathematics, design and account<strong>in</strong>g. Each of these discipl<strong>in</strong>e studies is<br />
related to her exploration of the ‘Professional Entity’ a model that helps<br />
expla<strong>in</strong> the attributes and activities (such as ethics and creativity)<br />
related to professional work. Anna has been part of a team explor<strong>in</strong>g<br />
the relationships between creativity, ethics, susta<strong>in</strong>able development
Adele Reid<br />
United K<strong>in</strong>gdom<br />
Keywords participatory <strong>research</strong>,<br />
design, risk, new product<br />
development, creative companies<br />
L<strong>in</strong>den Reilly<br />
London Metropolitan University, Sir<br />
John Cass department of Art, Central<br />
House, 59-63 Whitechapel High<br />
Street, London, E1 7PF, United<br />
K<strong>in</strong>gdom<br />
Keywords experiential knowledge,<br />
know<strong>in</strong>g, knowledge and<br />
understand<strong>in</strong>g, knowledge<br />
communication, practice-led <strong>research</strong>,<br />
questions<br />
Simona Segre Re<strong>in</strong>ach<br />
Keywords made <strong>in</strong> Italy, fashion,<br />
national identity, globalization<br />
and cross-cultural sensitivity <strong>in</strong> a project funded by the World Bank.<br />
› Design students' experience of engagement and creativity, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 6.1, 27-40.<br />
Adele Reid has a BSc (Hons) <strong>in</strong> Psychology and Human Resource<br />
Management, and an MSc <strong>in</strong> Ergonomics. She has been work<strong>in</strong>g <strong>in</strong> the<br />
field of ergonomics and design as a <strong>research</strong>er for the last eight years;<br />
her ma<strong>in</strong> areas of <strong>research</strong> have been <strong>in</strong> product design and health and<br />
safety. She has been <strong>in</strong>volved <strong>in</strong> projects for the M<strong>in</strong>istry of Defence,<br />
the Health and Safety Executive, the European Standards Agency and<br />
<strong>research</strong> for European Union’s Fifth Framework Programme.<br />
› Research<strong>in</strong>g creative companies: lessons learned from a risk <strong>in</strong> design<br />
project, Creative Industries Journal, 2.2, 161-178.<br />
L<strong>in</strong>den Reilly, is Senior Lecturer <strong>in</strong> theory related to art practice and<br />
Course Organiser of the MA by Project, a <strong>research</strong> programme <strong>in</strong> the<br />
arts. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude: theories of visual arts practice and<br />
epistemology; <strong>research</strong> methods the arts; the roles of sensation and<br />
experience <strong>in</strong> imag<strong>in</strong>ation, <strong>research</strong>, knowledge, understand<strong>in</strong>g, and<br />
theory; the nature and operation of tastes. She is a member of the<br />
Visual <strong>Arts</strong> Practice <strong>research</strong> Group, and DART.<br />
› New knowledge <strong>in</strong> the creative discipl<strong>in</strong>es – proceed<strong>in</strong>gs of the first<br />
Experiential Knowledge Conference 2007, Journal of Visual Art Practice,<br />
6.2, 81-88.<br />
› Special Edition Editorial: What work does the artwork do? A question for art,<br />
Journal of Visual Art Practice, 6.1, 5-12.<br />
Simona Segre Re<strong>in</strong>ach, cultural anthropologist, is Contract Professor of<br />
Anthropology of Fashion at Iuav University (Venice) and of Fashion<br />
and Turism at Iulm University (Milan). She has published several<br />
articles, ‘Ch<strong>in</strong>a and Italy. Fast Fashion vs Pret à Porter. Towards a new<br />
Culture of Fashion’ (Fashion Theory, 9: 1), ‘Milan, the city of prêt à<br />
porter’ (Fashion’s World Cities, Berg, 2006), ‘Italianand Ch<strong>in</strong>ese<br />
agendas <strong>in</strong> the global fashion <strong>in</strong>dustry’ (The Fashion History Reader,
Ricardo Reis<br />
Escola Superior de Educação de<br />
Setúbal, Departamento de Artes<br />
Plásticas, Rua do Vale de<br />
Chaves2914, 504 Setúbal, Portugal<br />
Keywords environment, visual<br />
literacy, education, public art<br />
Scott Rettberg<br />
The University of Bergen, Dept of<br />
L<strong>in</strong>guistic, Literary and Aesthetic<br />
Studies, Program <strong>in</strong> Digital Culture,<br />
5020 Bergen, PO Box 7805, Norway<br />
Keywords literary studies, aesthetic<br />
studies, electronic literature<br />
Routledge, 2010) and three books: Mode <strong>in</strong> Italy. Una lettura<br />
antropologica (Guer<strong>in</strong>i, 1999); La Moda. Un’<strong>in</strong>troduzione (Laterza<br />
[2005] 2010); Orientalismi. La moda nel mercato globale. Manuale di<br />
sociologia, comunicazione e cultura della moda (Meltemi, 2006). She<br />
is currently undertak<strong>in</strong>g <strong>research</strong> <strong>in</strong> Ch<strong>in</strong>a, collaborat<strong>in</strong>g withProfessor<br />
Sylvia Yanagisako (Stanford University) and Professor Lisa Rofel<br />
(University of California Santa Cruz) on the project ‘TheFashion<br />
Theory: The Journal of Dress, Body & Culture<br />
› If you speak fashion you speak Italian: Notes on present day Italian fashion<br />
identity, Critical Studies <strong>in</strong> Fashion & Beauty, 1.2, 203-215.<br />
Ricardo Reis is currently Ph.D. Student <strong>in</strong> <strong>Arts</strong> and Education at<br />
University of Barcleona. He's <strong>research</strong> about the role of the school <strong>in</strong><br />
the devolpment and social value of visual literacy. He has a MA <strong>in</strong> Art<br />
Education from the Faculty of F<strong>in</strong>e <strong>Arts</strong> at the University of Lisbon.<br />
He teaches Visual and Technological Education <strong>in</strong> a public school <strong>in</strong><br />
Portugal. He also tra<strong>in</strong>n<strong>in</strong>g visual arts teachers and is a member of the<br />
Identity(ies) and Diversity(ies) Research Centre at Leiria Polytechnic<br />
and is guest lecturer at Setúbal Polytechnic. He is an active member of<br />
the National Association of Education and Eduta<strong>in</strong>ment (ANAE) and<br />
the Association of Teachers of Visual Expression and Communication<br />
(APECV) and co-edits In-visibilidades: Ibero American Visual<br />
Cultural Education Research Journal.<br />
› Public art as an educational resource, International Journal of Education<br />
through Art, 6.1, 85-96.<br />
Born <strong>in</strong> 1970, Scott Rettberg is Associate Professor of Digital Culture<br />
<strong>in</strong> the Department of L<strong>in</strong>guistic, Literary and Aesthetic studies at the<br />
University of Bergen, Norway. Rettberg is the author or co-author of<br />
novel-length works of electronic literature <strong>in</strong>clud<strong>in</strong>g The Unknown,<br />
K<strong>in</strong>d of Blue and Implementation. His work has been exhibited onl<strong>in</strong>e<br />
and at art venues <strong>in</strong> the United States and Europe. Rettberg is the cofounder<br />
and served as the first executive director of the nonprofit<br />
Electronic Literature Organization. Rettberg is also Project Leader of<br />
the Humanities <strong>in</strong> the European Research Area collaborative <strong>research</strong><br />
project ELMCIP: Electronic Literature as a Model of Creativity and<br />
Innovation <strong>in</strong> Practice.<br />
› F<strong>in</strong>d<strong>in</strong>g a third space for electronic literature: Creative community,
Rebecca Reubens<br />
Delft University of Technology,<br />
department of Design for<br />
Susta<strong>in</strong>ability at the Delft University<br />
of Technology, 380015, Netherlands<br />
Keywords <strong>in</strong>dustrialization, design,<br />
bamboo, susta<strong>in</strong>ability, craft<br />
Rebecca Reynolds<br />
Centre for Excellence <strong>in</strong> Teach<strong>in</strong>g and<br />
Learn<strong>in</strong>g through Design, University<br />
of Brighton, Faculty of <strong>Arts</strong>, 66-68<br />
Grand Parade, Brighton, BN2 0JY,<br />
United K<strong>in</strong>gdom<br />
Keywords art education, <strong>research</strong> and<br />
resource development, museum<br />
studies<br />
James Reynolds<br />
University of London, K<strong>in</strong>gston,<br />
Department of Drama, Mile End<br />
Road, London, E1 4NS, United<br />
K<strong>in</strong>gdom<br />
Keywords adaptation, ideologem, V<br />
For Vendetta, anarchism<br />
authorship, publish<strong>in</strong>g, and <strong>in</strong>stitutional environments, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 4.1, 9-23.<br />
Rebecca Reubens began her journey <strong>in</strong> bamboo as a student of the<br />
National Institute of Design (NID) <strong>in</strong> India. She stayed with the subject<br />
while work<strong>in</strong>g with the International Network for Bamboo and Rattan<br />
(INBAR) for seven years, where she worked with bamboo craft<br />
communities <strong>in</strong> Asia, Africa and Lat<strong>in</strong> America. Her work entailed<br />
document<strong>in</strong>g their craft and provid<strong>in</strong>g support to help craft-spersons recontextualize<br />
their craft and access contemporary markets. She is<br />
currently pursu<strong>in</strong>g her Ph.D. with the department of Design for<br />
Susta<strong>in</strong>ability at the Delft University of Technology, the Netherlands,<br />
on the l<strong>in</strong>kages between bamboo, susta<strong>in</strong>ability and design.<br />
› Bamboo canopy: Creat<strong>in</strong>g new reference-po<strong>in</strong>ts for the craft of the Kotwalia<br />
community <strong>in</strong> India through susta<strong>in</strong>ability, Craft Research, 1.1, 11-38.<br />
Rebecca Reynolds was the Higher Education Officer, Centre for<br />
Excellence <strong>in</strong> Teach<strong>in</strong>g and Learn<strong>in</strong>g through Design, based at the<br />
Victoria and Albert Museum. Her responsibilities <strong>in</strong>cluded <strong>research</strong><br />
and resource development focus<strong>in</strong>g on the use of museums by HE<br />
design students. She is currently a visit<strong>in</strong>g lecturer <strong>in</strong> museum studies<br />
at Read<strong>in</strong>g University.<br />
› Museum audios for design students: Auditory wallpaper or effective learn<strong>in</strong>g<br />
support?, Art, Design & Communication <strong>in</strong> Higher Education, 9.2, 151-166.<br />
James Reynolds is a lecturer <strong>in</strong> Drama at K<strong>in</strong>gston University, London.<br />
He is currently complet<strong>in</strong>g Ph.D. <strong>research</strong> <strong>in</strong>vestigat<strong>in</strong>g performance<br />
practices <strong>in</strong> the theatre of Robert Lepage. His published work <strong>in</strong>cludes<br />
a chapter on Howard Barker’s direction of his own plays <strong>in</strong> Theatre of<br />
Catastrophe (Oberon, 2006), an article on Lepage’s work, ‘Act<strong>in</strong>g with<br />
Puppets and Objects,’ <strong>in</strong> Performance Research (2007), and an article<br />
on comic-to-film adaptation, 'KILL ME SENTIMENT', <strong>in</strong> The Journal<br />
of Adaptation <strong>in</strong> Film and Performance (2009).
Mofizur Rhaman<br />
University of Dhaka, Department of<br />
Mass Communication and Journalism,<br />
Dhaka, 1000, Bangladesh<br />
Keywords fem<strong>in</strong><strong>in</strong>ity, representation,<br />
body, gender, advocacy<br />
Bill Ribbans<br />
University of Northampton and The<br />
County Cl<strong>in</strong>ic, School of Health, The<br />
County Cl<strong>in</strong>ic, 57 Bill<strong>in</strong>g Road,<br />
Northampton, United K<strong>in</strong>gdom<br />
Keywords dance, <strong>in</strong>juries, ballet,<br />
orthopaedics, multi-discipl<strong>in</strong>ary<br />
healthcare<br />
Clarissa Ribeiro<br />
University of Sao Paulo, Department<br />
of Visual <strong>Arts</strong>, Rua Vespasiano, 783,<br />
São Paulo, São Paulo, 5044050,<br />
Brazil<br />
Keywords emergent behavior,<br />
complexity and organization, digital<br />
art <strong>in</strong>stallations, complex adaptive<br />
systems, systemic measures, creative<br />
process<br />
› Ten years on the edge: Phil Fox reflects on a decade of recovery from<br />
addiction through applied theatre, Journal of Applied <strong>Arts</strong> & Health, 2.2,<br />
165-172.<br />
Mofizur Rhaman is currently work<strong>in</strong>g as an associate professor <strong>in</strong> the<br />
Department of Mass Communication and Journalism at the University<br />
of Dhaka, Dhaka 1000, Bangladesh. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>cludes<br />
media, advocacy communication and development, media policy,<br />
media, gender, society and culture.<br />
› Body of the other: Construct<strong>in</strong>g gender identity <strong>in</strong> anti-acid violence<br />
campaign materials <strong>in</strong> Bangladesh, The Poster, 1.1, 31-60.<br />
Professor Bill Ribbans Ph.D., FRCSOrth, FFSEM (UK) is a Consultant<br />
Orthopaedic Surgeon at Northampton General Hospital and Visit<strong>in</strong>g<br />
Professor at The University of Northampton. He is Honorary<br />
Orthopaedic Surgeon to the English National Ballet and <strong>in</strong>volved with<br />
many professional sports organisations, particularly <strong>in</strong>volv<strong>in</strong>g rugby<br />
union, association football, cricket, athletics and badm<strong>in</strong>ton.<br />
› Best foot forward: An orthopaedic odyssey through the world of dance1,<br />
Journal of Applied <strong>Arts</strong> & Health, 1.1, 53-61.<br />
› Complex <strong>in</strong>stallations: shar<strong>in</strong>g consciousness <strong>in</strong> a cybernetic ballet,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 8.2, 159-165.
Karen Richard<br />
Murray Royal Hospital, Department<br />
of Forensic Psychiatry, Perth, PH2<br />
7BH, Australia<br />
Keywords drama, creativity, mental<br />
health, forensic psychiatry, mentally<br />
disordered offenders<br />
David Richmond<br />
York St John University, Lord<br />
Mayor's Walk, York, YO31 7EX,<br />
United K<strong>in</strong>gdom<br />
Keywords art and design, theatre,<br />
reflexivity, reflection<br />
Jules Dorey Richmond<br />
York St John University, Lord<br />
Mayor's Walk, York, YO31 7EX,<br />
United K<strong>in</strong>gdom<br />
Keywords art and design, theatre,<br />
reflexivity, reflection<br />
Dr. Karen Richard, BSc, MBChB, FRCPsych, is a Consultant Forensic<br />
Psychiatrist at the Murray Royal Hospital and has contributed to the<br />
Journal of Applied <strong>Arts</strong> & Health.<br />
› A descriptive analysis of a pilot drama project <strong>in</strong> a forensic psychiatric<br />
sett<strong>in</strong>g, Journal of Applied <strong>Arts</strong> & Health, 1.3, 267-280.<br />
David Richmond is Head of Programme of Performance: Theatre and<br />
Senior Lecturer <strong>in</strong> Theatre and Performance at York St John<br />
University. For the past twenty years, David has been collaborat<strong>in</strong>g<br />
with Jules Dorey Richmond creat<strong>in</strong>g experimental and <strong>in</strong>novative<br />
works, pull<strong>in</strong>g together their respective discipl<strong>in</strong>es of visual art and<br />
theatre. S<strong>in</strong>ce 1996 they have been engaged <strong>in</strong> a Theatre of Witness<br />
series of collaborative works with World War Two Veterans, Survivors<br />
and Witnesses <strong>in</strong> various communities throughout Brita<strong>in</strong>. This process<br />
is ongo<strong>in</strong>g, and the year 1998 led them on a secular pilgrimage to<br />
Auschwitz. David and Jules have been funded by the Scottish <strong>Arts</strong><br />
Council and Glasgow City Council and have obta<strong>in</strong>ed commissions<br />
from Mayfest and Centre for Contemporary <strong>Arts</strong> (Glasgow), as well as<br />
receiv<strong>in</strong>g support <strong>in</strong> k<strong>in</strong>d from the British Council. David is tour<strong>in</strong>g his<br />
solo work slipp<strong>in</strong>g away performed at the National Review of Live Art<br />
(Glasgow 2010).<br />
› Reflect on this!, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 197-210.<br />
Jules Dorey Richmond was awarded a BA (Hons) <strong>in</strong> Art and Social<br />
Context from Dart<strong>in</strong>gton College of <strong>Arts</strong> and a Master of F<strong>in</strong>e Art<br />
(MFA) from University of Leeds. Currently she is a Senior Lecturer <strong>in</strong><br />
Live Art and Performance at York St John University. Jules is a<br />
sculptor <strong>who</strong> makes books, video <strong>in</strong>stallations and performances. She<br />
is fiercely committed to mak<strong>in</strong>g work drawn from the autobiographical<br />
– fram<strong>in</strong>g and connect<strong>in</strong>g what impels her f<strong>in</strong>e art practice to a larger<br />
field of fem<strong>in</strong>ist th<strong>in</strong>k<strong>in</strong>g and wonder<strong>in</strong>g. Over the past twenty years<br />
Jules has made a diverse range of performance and artworks with, for<br />
and by various communities throughout Brita<strong>in</strong> and northern Europe.<br />
These range from large-scale outdoor spectaculars, to happen<strong>in</strong>gs and<br />
<strong>in</strong>terventionist works for nightclubs, parks, the streets, museums and<br />
cafes through to small-scale tour<strong>in</strong>g shows, performance <strong>in</strong>stallations,<br />
film works and gallery pieces.
Olivier Richon<br />
Royal College of Art, Kens<strong>in</strong>gton<br />
Gore, London, SW7 2EU, United<br />
K<strong>in</strong>gdom<br />
Keywords photography<br />
Kathryn Ricketts<br />
Simon Fraser University, 8888<br />
University Drive, Burnaby, BC, V5A<br />
1S6, Canada<br />
Keywords embodied heteroglossic<br />
spaces, immigration, identity,<br />
practice-based <strong>research</strong>, arts-based<br />
<strong>research</strong><br />
Alison Rieple<br />
University of Westm<strong>in</strong>ster,<br />
Westm<strong>in</strong>ster Bus<strong>in</strong>ess School, 35<br />
Marylebone Road, London, NW1<br />
5LS, United K<strong>in</strong>gdom<br />
Keywords strategic resources,<br />
clusters, fashion <strong>in</strong>dustry, apparel<br />
design<br />
› Reflect on this!, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.3, 197-210.<br />
Olivier Richon is Professor of Photography at the Royal College of Art,<br />
London. His work has been exhibited <strong>in</strong>ternationally s<strong>in</strong>ce 1980 and is<br />
<strong>in</strong> many public collections, <strong>in</strong>clud<strong>in</strong>g the Victoria & Albert Museum,<br />
London; the Musée d’art moderne de la ville de Paris; Museum<br />
Folkwang, Essen; the National Museum of Modern Art, Kyoto; the<br />
Brooklyn Museum, New York; and the National Gallery of New South<br />
Wales, Australia. Steidl published a monograph of his photographic<br />
work, entitled Real Allegories, <strong>in</strong> 2006. He is represented by Ibid<br />
Projects, London.<br />
› The Sophist and the photograph, Philosophy of Photography, 1.1, 35-40.<br />
Kathryn Ricketts has been work<strong>in</strong>g for the past 26 years <strong>in</strong> movement<br />
and visual arts present<strong>in</strong>g throughout Europe, South America, Africa<br />
and Canada. Currently she is complet<strong>in</strong>g her doctoral programme at<br />
Simon Fraser University, Kathryn is <strong>research</strong><strong>in</strong>g identity and place<br />
with personal stories through embodiment as a means towards literacy.<br />
› Render<strong>in</strong>g Embodied Heteroglossic Spaces, Journal of <strong>Arts</strong> & Communities,<br />
1.2, 129-146.<br />
Dr. Alison Rieple is Professor of Strategic Management at the<br />
University of Westm<strong>in</strong>ster, London. Her pr<strong>in</strong>ciple <strong>research</strong> <strong>in</strong>terests are<br />
the <strong>in</strong> the management of the creative <strong>in</strong>dustries, especially the<br />
structur<strong>in</strong>g of the <strong>in</strong>novation andproduct development process <strong>in</strong> the<br />
music and fashion <strong>in</strong>dustries. She is the author of a number of articles<br />
on design and <strong>in</strong>novation, and has also co-authored twostrategic<br />
management textbooks, the most recent published <strong>in</strong> December 2007.<br />
› Product development with<strong>in</strong> a clustered environment: The case of apparel<br />
design firms, Creative Industries Journal, 2.3, 273-289.
Miguel Domínguez Rigo<br />
Complutense University of Madrid,<br />
Didactics of Plastic Expression,<br />
Faculty of Education, office 1609, c/<br />
Rector Royo Vilanova s/n, Madrid,<br />
28040, Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion, education<br />
Howard Riley<br />
Swansea Metropolitan University,<br />
Dynevor Centre for <strong>Arts</strong> Design and<br />
Media, De La Beche Street, Swansea,<br />
SA1 3EU, United K<strong>in</strong>gdom<br />
Keywords art pedagogy, artworld,<br />
conceptual <strong>in</strong>trigue, perceptual<br />
<strong>in</strong>trigue<br />
Lawrence R<strong>in</strong>der<br />
Keywords poet, playwright, essayist,<br />
novelist, curat<strong>in</strong>g<br />
The <strong>research</strong> group ‘Aplicaciones del arte para la <strong>in</strong>clusión social: arte,<br />
terapiay educación para la diversidad’ (Applications of art for social<br />
<strong>in</strong>clusion: art, therapy and education for diversity) is a part of a larger<br />
team of teach<strong>in</strong>g staff at the Complutense University of Madrid, which<br />
has promoted studies on art, social <strong>in</strong>clusion and art therapy, to a<br />
European M.A. and Ph.D. The group, composed of Primary and<br />
Secondary Schools teachers, professorsat the Faculty of Education and<br />
<strong>research</strong>ers on Art Education and Art Therapy, has published a variety<br />
of books on art therapy and social <strong>in</strong>clusion, such as Creación y<br />
posibilidad/Creation and Possibility (López FernándezCao 2006) and<br />
Arteterapia y educación/Art Therapy and Education (Martínez Díez<br />
and López Fernández Cao 2004), and a collection of thirteen<br />
educational projects under the name ‘Posibilidades de ser<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.<br />
Howard Riley is Professor of Visual Communication and Head of the<br />
School of Research and Postgraduate Studies at the Dynevor Centre for<br />
<strong>Arts</strong>, Design & Media, Swansea Metropolitan University. He has<br />
taught draw<strong>in</strong>g, and the history and theory of art and design <strong>in</strong><br />
Australia and Malaysia as well as the United K<strong>in</strong>gdom. His<br />
publications are <strong>in</strong> the fields of visual semiotics and multimodality,<br />
generative art and his draw<strong>in</strong>gs have most recently been exhibited <strong>in</strong><br />
the the Bay Art Gallery, Cardiff, the Wales Draw<strong>in</strong>g Biennale, and at<br />
the Elysium <strong>Arts</strong>pace, Swansea.<br />
› Fir<strong>in</strong>g Practice: Draw<strong>in</strong>g as Empowerment, Journal of Visual Art Practice,<br />
1.3, 150-161.<br />
› Beyond the horizon: future directions for the teach<strong>in</strong>g of visual arts practice,<br />
Journal of Visual Art Practice, 6.1, 73-80.<br />
Lawrence R<strong>in</strong>der is the Director of the Berkeley Art Museum and<br />
Pacific Film Archive. He was formerly Dean of the College at the<br />
California College of the <strong>Arts</strong> <strong>in</strong> San Francisco and Oakland. He has<br />
held curatorial positions at the Walker Art Center, the Whitney<br />
Museum of American Art and the Berkeley Art Museum. He was the<br />
Found<strong>in</strong>g Director of the Wattis Institute at the California College of<br />
the <strong>Arts</strong>. He is a published poet, playwright, essayist and novelist.
Kathy R<strong>in</strong>g<br />
York St John College, 2 Norwood<br />
Court, Knaresborough, North<br />
Yorkshire, HG5 0PR, United<br />
K<strong>in</strong>gdom<br />
Keywords young children, draw<strong>in</strong>g,<br />
teacher support, mean<strong>in</strong>g-mak<strong>in</strong>g<br />
Sandra E. Hoffmann<br />
Robbiani<br />
Keywords communication design,<br />
perception, ticker tape, spatial<br />
sequence, grapheme-colour<br />
Felix Robb<strong>in</strong>s<br />
University College London<br />
Keywords architecture, design,<br />
digital design practice, urban<br />
regeneration<br />
› Pay<strong>in</strong>g attention, Visual Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 49-51.<br />
Kathy R<strong>in</strong>g is a senior lecturer <strong>in</strong> Education with<strong>in</strong> the School of<br />
Education and Theology, York St John College. She contributes to<br />
Initial Teacher Tra<strong>in</strong><strong>in</strong>g and Masters programmes with a particular<br />
emphasis on early years education. Kathy began her career as a<br />
primary-school teacher and spent fifteen years teach<strong>in</strong>g across the<br />
<strong>in</strong>fant age range. Her <strong>research</strong> <strong>in</strong>terests are focused upon the young<br />
child as a mean<strong>in</strong>g-maker, and she is particularly <strong>in</strong>terested <strong>in</strong> the role<br />
draw<strong>in</strong>g plays <strong>in</strong> support<strong>in</strong>g their th<strong>in</strong>k<strong>in</strong>g and learn<strong>in</strong>g. With Angela<br />
Ann<strong>in</strong>g she is co-author of Mak<strong>in</strong>g sense of children’s draw<strong>in</strong>gs<br />
(OUP/McGraw-Hill, 2004).<br />
› Support<strong>in</strong>g young children draw<strong>in</strong>g: develop<strong>in</strong>g a role, International Journal<br />
of Education through Art, 2.3, 195-209.<br />
Sandra Ellen Hoffmann Robbiani is a Communication designer based<br />
<strong>in</strong> Berne, Switzerland, and is a Professor of ‘Typography and<br />
Communication Design’ at the Department of Design, University of<br />
Applied Sciences <strong>in</strong> Darmstadt, Germania (Hochschule Darmstadt,<br />
Fachbereich Gestaltung). Her <strong>research</strong> work is based on observation<br />
and analysis of cultural situations, supported by systems of record<strong>in</strong>g,<br />
storage and retrieval, and applied through visual explanation. She is<br />
currently work<strong>in</strong>g on a Ph.D. <strong>in</strong> Zurich and Plymouth (Z-Node<br />
Planetary Collegium).<br />
› Synoptic Comparisons: An Inventory of Aspects. Visual Case Reports of<br />
Typographic Synaesthesia, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.2, 215-219.<br />
Felix ga<strong>in</strong>ed a Diploma <strong>in</strong> Architectural Design from the Bartlett,<br />
University College London <strong>in</strong> 2002, an MArch <strong>in</strong> 2003, and qualified<br />
professionally <strong>in</strong> 2006. Felix has worked for dECOi architects <strong>in</strong> Paris<br />
and oceanD <strong>in</strong> London. His work for these practices has <strong>in</strong>cluded<br />
residential, cultural and competition projects – all develop<strong>in</strong>g<br />
<strong>in</strong>novative approaches to digital design practice and widely published.<br />
S<strong>in</strong>ce 2006 Felix has worked at Make, work<strong>in</strong>g on large scale
Wood Roberdeau<br />
Goldsmiths, University of London,<br />
Visual Cultures, New Cross, London,<br />
SE14 6NW, United K<strong>in</strong>gdom<br />
Keywords aesthetics, art theory,<br />
contemporary art, domesticity,<br />
everyday aesthetics, phenomenology,<br />
postmodernism<br />
John Roberts<br />
Keywords aesthetics, sensible,<br />
subjectivization, representation,<br />
pragmatism<br />
commercial and urban regeneration projects. Felix has also taught as a<br />
visit<strong>in</strong>g critic at Diploma and MArch level at the Bartlett and AA. He is<br />
currently conduct<strong>in</strong>g a Ph.D. by Design at the Bartlett supervised by<br />
Neil Spiller and Ranulph Glanville – <strong>research</strong> that speculates on the<br />
possibility of design to transcend the contradictions of post-logical<br />
architectural production.<br />
› Instructional Design Vision:Synthetic opera: transcend<strong>in</strong>g contradictions of<br />
post, Design Ecologies, 1.1, 75-112.<br />
Dr. Wood Roberdeau is an Associate Tutor <strong>in</strong> Visual Cultures at<br />
Goldsmiths, where he teaches course on modern and contemporary art<br />
and theory.<br />
› , Philosophy of Photography, 2.1, 159-183.<br />
John Roberts is professor of Art and Aesthetics at the University of<br />
Wolverhampton. He is the author of a number of books, <strong>in</strong>clud<strong>in</strong>g The<br />
Art of Interruption: Realism, Photography and the Everyday<br />
(Manchester University Press, 1998) and The Intangibilities of Form:<br />
Skill and Deskill<strong>in</strong>g <strong>in</strong> Art After the Readymade (2007).<br />
› On the limits of negation <strong>in</strong> Badiou’s theory of art, Journal of Visual Art<br />
Practice, 7.3, 271-282.<br />
› Philosophy, culture, image: Rancière’s ‘constructivism’, Philosophy of<br />
Photography, 1.1, 69-79.<br />
› Photography, landscape and the social production of space, Philosophy of<br />
Photography, 1.2, 135-156.<br />
› The flat-l<strong>in</strong><strong>in</strong>g of metaphysics: François Laruelle’s ‘science-fictive’ theory of<br />
non-photography, Philosophy of Photography, 2.1, 129-141.<br />
Gillian Robertson Gillian is an artist and tra<strong>in</strong>ed at W<strong>in</strong>chester School of Art, receiv<strong>in</strong>g a<br />
Ph.D. <strong>in</strong> F<strong>in</strong>e Art (Pa<strong>in</strong>t<strong>in</strong>g) <strong>in</strong> 2009. She lives and works <strong>in</strong> Hampshire
W<strong>in</strong>chester, Hampshire, United<br />
K<strong>in</strong>gdom<br />
Keywords archaeology, excavation,<br />
object, body-ground, metaphor<br />
Deborah Rob<strong>in</strong>son<br />
Keywords abstraction, pour<strong>in</strong>g,<br />
speed, <strong>in</strong>tuition<br />
Anne Rob<strong>in</strong>son<br />
London Metropolitan University,<br />
Film Studies Dept, 166–220<br />
Holloway Road, London, N7 8DB,<br />
United K<strong>in</strong>gdom<br />
Keywords practice-based <strong>research</strong>,<br />
tacit knowledge, visual <strong>in</strong>telligence,<br />
pa<strong>in</strong>t<strong>in</strong>g<br />
and London, and exhibits locally and nationally both as a solo artist<br />
and as a member of the landscape group Land2 and with the<br />
Bermondsey Artists Group. She works <strong>in</strong> oil on canvas with subjects<br />
<strong>in</strong>spired by landscape, archaeology and mythology. Her pa<strong>in</strong>t<strong>in</strong>gs<br />
explore the territory between figuration and abstraction and exam<strong>in</strong>e<br />
the relationship of the body to the ground <strong>in</strong> which it is located and<br />
from which the pa<strong>in</strong>t<strong>in</strong>g develops. She writes on the work of the<br />
philosopher Maurice Merleau-Ponty and is a regular conference<br />
speaker on the relationship between art and archaeology, and on<br />
draw<strong>in</strong>g.<br />
› The excavated object, Journal of Visual Art Practice, 5.1, 73-82.<br />
Deborah Rob<strong>in</strong>son orig<strong>in</strong>ally tra<strong>in</strong>ed as an observational pa<strong>in</strong>ter. She<br />
then moved towards abstraction and produced large scale pa<strong>in</strong>t<strong>in</strong>gs<br />
us<strong>in</strong>g techniques such as pour<strong>in</strong>g, speed and <strong>in</strong>tuition, derived from<br />
abstract expressionism. In this work it became important to f<strong>in</strong>d a<br />
abstract pa<strong>in</strong>terly language that expressed her subjective experience as<br />
a woman and mother. Dur<strong>in</strong>g a year spent as artist <strong>in</strong> residence <strong>in</strong><br />
Angeles Deborah began to explore relationship between contemporary<br />
fem<strong>in</strong>ist psychoanalytic/philosophic writ<strong>in</strong>g (particularly the writ<strong>in</strong>gs<br />
of Luce Irigaray) and pa<strong>in</strong>terly processes. This became the basis of her<br />
Ph.D. <strong>research</strong> project 'Materiality of Body and Text: An Investigation<br />
Through Pa<strong>in</strong>t<strong>in</strong>g and Darkroom Processes' (completed <strong>in</strong> 2003). After<br />
this Deborah took a new direction <strong>in</strong> her work and began a series of<br />
work <strong>in</strong> which she collaborated with scientists.<br />
› The Materiality of Text and Body <strong>in</strong> Pa<strong>in</strong>t<strong>in</strong>g and Darkroom Processes: an<br />
<strong>in</strong>vestigation through practice, Journal of Visual Art Practice, 2.1, 93-95.<br />
Anne Rob<strong>in</strong>son is a senior lecturer <strong>in</strong> film studies at London<br />
Metropolitan University, and a practic<strong>in</strong>g artist. She is currently<br />
undertak<strong>in</strong>g a Ph.D. at London Metropolitan University on the<br />
relationship between time <strong>in</strong> pa<strong>in</strong>t<strong>in</strong>gs and mov<strong>in</strong>g image languages.<br />
Exhibitions of video work <strong>in</strong>clude Maybe <strong>in</strong> the Sky (Liverpool World<br />
Museum, 2008) and Slipframe (APT Gallery London, 2007).<br />
› Underwrit<strong>in</strong>g: an experiment <strong>in</strong> chart<strong>in</strong>g studio practice, Journal of Visual<br />
Art Practice, 8.1&2, 59-74.
Matthew Rob<strong>in</strong>son<br />
Royal Academy of Music,<br />
Marylebone Road, London, NW1<br />
5HT, United K<strong>in</strong>gdom<br />
Keywords temporality, materiality,<br />
web-based artefacts, open source<br />
software, Active Notation<br />
Julio Romero Rodríguez<br />
Complutense University of Madrid.,<br />
Didactics of Plastic Expression,<br />
Faculty of Education, Office 1609, c/<br />
Rector Royo Vilanova s/n, Madrid,<br />
28040, Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion, education<br />
Joaquín Roldán Ramírez<br />
Keywords visual argument, primary<br />
teacher tra<strong>in</strong><strong>in</strong>g, photography, artsbased<br />
educational <strong>research</strong><br />
Matthew Rob<strong>in</strong>son is a second year student of piano at the Royal<br />
Academy of Music. A student of Jamil Sheriff and Tom Cawley he has<br />
performed <strong>in</strong> numerous youth bands <strong>in</strong>clud<strong>in</strong>g performances at the<br />
Royal Albert Hall, Houses of Parliament and Doncaster Jazz<br />
Association. As a solo artist and player with small ensembles he has<br />
recently appeared at venues across London <strong>in</strong>clud<strong>in</strong>g the Southbank<br />
Centre and Core Ballroom.<br />
› Music and textiles <strong>in</strong>teract, Craft Research, 1.1, 39-61.<br />
The <strong>research</strong> group ‘Aplicaciones del arte para la <strong>in</strong>clusión social: arte,<br />
terapia y educación para la diversidad’/'Applications of art for social<br />
<strong>in</strong>clusion: art, therapy and education for diversity' is a part of a larger<br />
team of teach<strong>in</strong>g staff at the Complutense University of Madrid, which<br />
has promoted studies on art, social <strong>in</strong>clusion and art therapy, to a<br />
European MA and Ph.D. The group, composed of Primary and<br />
Secondary Schools teachers, professors at the Faculty of Education and<br />
<strong>research</strong>ers on Art Education and Art Therapy, has published a variety<br />
of books on art therapy and social <strong>in</strong>clusion, such as Creación y<br />
posibilidad/Creation and Possibility (López Fernández Cao 2006) and<br />
Arteterapia y educación/Art Therapy and Education (Martínez Díez<br />
and López Fernández Cao 2004), and a collection of thirteen<br />
educational projects under the name<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.<br />
Joaquín Roldán Ramírez has a Bachelor degree <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> (Sculpture)<br />
and Ph.D. <strong>in</strong> Visual <strong>Arts</strong> and Education. He was appo<strong>in</strong>ted as professor<br />
at the University of Granada <strong>in</strong> 1999. He won a national award for<br />
sculpture <strong>in</strong> 1994 and 1995, has work <strong>in</strong> the Museum Villa de Rota and<br />
the contemporary art collection of the University of Granada and has<br />
exhibited <strong>in</strong> the Sudan and Libya. Recent books and exhibition<br />
catalogues <strong>in</strong>clude (2004), Maps of See<strong>in</strong>g (2006), Dialogo de<br />
imagenes (2007), Miradas sobre la Violencia de Género/See<strong>in</strong>g<br />
Gender Violence (2008).<br />
› Photo essays and photographs <strong>in</strong> visual arts-based educational <strong>research</strong>,<br />
International Journal of Education through Art, 6.1, 7-23.
Andrés Romero-Jódar<br />
University of Zaragoza,<br />
Departamento de Filologia Inglesa y<br />
Alemana, C/ Pedro Cerbuna, 12,<br />
Zaragoza, 50009, Spa<strong>in</strong><br />
Keywords Alan Moore, comic book,<br />
graphic novel, avant-gardes,<br />
postmodernism, Bertolt Brecht<br />
Simon Roodhouse<br />
Keywords workforce development,<br />
vocational qualifications, higher<br />
education, qualifications, connectivity<br />
Toni Ross<br />
University of New South Wales,<br />
College of F<strong>in</strong>e <strong>Arts</strong>, School of Art<br />
History and Theory, PO Box 259,<br />
Padd<strong>in</strong>gton, New South Wales, 2021,<br />
Australia<br />
Andrés Romero-Jódar holds a BA and an MA <strong>in</strong> English Philology,<br />
and a BA <strong>in</strong> Spanish Philology from the University of Zaragoza<br />
(Spa<strong>in</strong>). He is a Research Fellow <strong>in</strong> the Department of English and<br />
German Philology of the University of Zaragoza, and is part of the<br />
<strong>research</strong> group entitled ‘Contemporary Narrative <strong>in</strong> English’. He is<br />
currently work<strong>in</strong>g on his doctoral thesis on sequential art, iconical<br />
genres and representation of trauma <strong>in</strong> graphic novels <strong>in</strong> English, and<br />
has published on these and related subjects <strong>in</strong> academic journals such<br />
as Atlantis, Estudios Ingleses de la Universidad Complutense, Revista<br />
Canaria de Estudios Ingleses, Revista Alicant<strong>in</strong>a de Estudios Ingleses,<br />
Revista de Literatura and Tropelías.<br />
› A hammer to shape reality: Alan Moore’s graphic novels and the avantgardes,<br />
Studies <strong>in</strong> Comics, 2.1, 39-56.<br />
› Editorial, Creative Industries Journal, 1.1, 5-6.<br />
› Editorial, Creative Industries Journal, 1.2, 89-90.<br />
› Realiz<strong>in</strong>g capabilities – academic creativity and the creative <strong>in</strong>dustries,<br />
Creative Industries Journal, 1.2, 137-150.<br />
› Editorial, Creative Industries Journal, 1.3, 207-209.<br />
› Editorial, Creative Industries Journal, 2.1, 5-7.<br />
› Editorial, Creative Industries Journal, 2.2, 127-128.<br />
› Editorial, Creative Industries Journal, 2.3, 215-216.<br />
› Editorials, Creative Industries Journal, 3.1, 3-4.<br />
› Editorial, Creative Industries Journal, 3.2, 105-106.<br />
› EDITORIAL, Creative Industries Journal, 3.3, 181-.<br />
› EDITORIAL, Creative Industries Journal, 4.1, 3-3.<br />
Dr. Toni Ross is Senior Lecturer <strong>in</strong> Art History and Theory at College<br />
of F<strong>in</strong>e <strong>Arts</strong>, University of New South Wales. She co-edited (with Jill<br />
Beaulieu & Mary Roberts) Refract<strong>in</strong>g Vision: essays on the writ<strong>in</strong>gs of<br />
Michael Fried (2000), and her recent <strong>research</strong> is focused on political<br />
theory <strong>in</strong> contemporary art, with a particular emphasis on the th<strong>in</strong>k<strong>in</strong>g<br />
of aesthetics and politics developed by philosopher Jacques Rancière.<br />
Her current <strong>research</strong> projects <strong>in</strong>clude studies of the politics of
Keywords philosophy of aesthetics,<br />
post-sixties and contemporary art,<br />
critical theory, art and politics<br />
Lisa Rossetti<br />
Keywords<br />
Stanislav Roudavski<br />
University of Melbourne, Faculty of<br />
Architecture, Build<strong>in</strong>g and Plann<strong>in</strong>g,<br />
Melbourne, Victoria, 3010, Australia<br />
Keywords <strong>research</strong> methodology,<br />
writ<strong>in</strong>g <strong>in</strong> creative practice, creative<br />
expression, <strong>research</strong> dissem<strong>in</strong>ation,<br />
academic writ<strong>in</strong>g<br />
Julia Round<br />
Bournemouth University, Dorset,<br />
United K<strong>in</strong>gdom<br />
Keywords comics, cross-media<br />
adaptation, television, discourse<br />
analysis<br />
aesthetics <strong>in</strong> the art of Olga Chernysheva, Steve McQueen and Tom<br />
Nicholson (funded by an Australia Council grant), and a book on<br />
Jacques Rancière’s refigur<strong>in</strong>g of the politics of aesthetic modernity that<br />
<strong>in</strong>cludes cases studies of Australian and <strong>in</strong>ternational contemporary<br />
art.<br />
› Aesthetic autonomy and <strong>in</strong>terdiscipl<strong>in</strong>arity: a response to Nicolas Bourriaud's<br />
‘relational aesthetics’, Journal of Visual Art Practice, 5.3, 167-182.<br />
› REVIEWS, Journal of Applied <strong>Arts</strong> & Health, 2.2, 187-198.<br />
An architect, artist and <strong>research</strong>er, Dr. Stanislav Roudavski studies and<br />
designs technologically susta<strong>in</strong>ed places. His current practice-based<br />
<strong>research</strong> work <strong>in</strong>tegrates organizational techniques of architecture,<br />
unpredictability and richness of performative situations, creative<br />
capacities of comput<strong>in</strong>g, visual languages of the mov<strong>in</strong>g-image arts,<br />
dramaturgy and spatial narrative. He is based at the Faculty of<br />
Architecture, Build<strong>in</strong>g and Plann<strong>in</strong>g, University of Melbourne.<br />
› Transparency or drama? Extend<strong>in</strong>g the range of academic writ<strong>in</strong>g <strong>in</strong><br />
architecture and design, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 3.2, 111-<br />
133.<br />
Julia Round lectures <strong>in</strong> the Media School at Bournemouth University,<br />
United K<strong>in</strong>gdom, and co-edits the academic journal Studies <strong>in</strong> Comics.<br />
She has published and presented work <strong>in</strong>ternationally on cross-media<br />
adaptation, television and discourse analysis, the application of literary<br />
term<strong>in</strong>ology to comics, the 'graphic novel' redef<strong>in</strong>ition, and the<br />
presence of gothic and fantastic motifs and themes <strong>in</strong> this medium. She<br />
holds a Ph.D. <strong>in</strong> English Literature from Bristol University, England,<br />
and MA <strong>in</strong> Creative Writ<strong>in</strong>g from Cardiff University, Wales, and has<br />
previously taught at Central St. Mart<strong>in</strong>s College of Art and Design,<br />
London, and Bristol University. She is a member of Bournemouth
Nick Rowe<br />
York St John University, Lord<br />
Mayor’s Walk, York, YO31 7EX,<br />
United K<strong>in</strong>gdom<br />
Keywords stigma, pedagogy, social<br />
<strong>in</strong>clusion, theatre, mental health<br />
Daniel Rub<strong>in</strong>ste<strong>in</strong><br />
United K<strong>in</strong>gdom<br />
Keywords digital photography, new<br />
media, digital culture, contemporary<br />
culture<br />
University's Narrative Research Group, the Higher Education<br />
Academy, and the International Society for the Study of Narrative. Her<br />
<strong>research</strong> explores contemporary British-American comics from literary,<br />
cultural, narratological and semiotic perspectives.<br />
› EDITORIAL, Studies <strong>in</strong> Comics, 1.1, 3-5.<br />
› Reviews, Studies <strong>in</strong> Comics, 1.2, 379-403.<br />
› Editorial, Studies <strong>in</strong> Comics, 1.2, 189-190.<br />
Nick Rowe is a senior lecturer at York St John University where he<br />
teaches <strong>in</strong> the Faculty of Health and Life Sciences and <strong>in</strong> the Faculty of<br />
<strong>Arts</strong>. With a background <strong>in</strong> psychiatric nurs<strong>in</strong>g and dramatherapy,<br />
Rowe is particularly <strong>in</strong>terested <strong>in</strong> the relationships between theatre and<br />
mental health. He is a perform<strong>in</strong>g member of Playback Theatre York<br />
and is the author of Play<strong>in</strong>g the Other: Dramatiz<strong>in</strong>g Personal<br />
Narratives <strong>in</strong> Playback Theatre (2007).<br />
› Border cross<strong>in</strong>gs: <strong>Arts</strong> and health work <strong>in</strong> a university, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.3, 241-250.<br />
› REVIEWS, Journal of Applied <strong>Arts</strong> & Health, 2.1, 93-101.<br />
› Forgett<strong>in</strong>g the mach<strong>in</strong>e: Patients experiences of engag<strong>in</strong>g <strong>in</strong> artwork while<br />
on renal dialysis, Journal of Applied <strong>Arts</strong> & Health, 2.1, 57-72.<br />
Daniel Rub<strong>in</strong>ste<strong>in</strong> is the head of digital photography at London South<br />
Bank University and the pr<strong>in</strong>ciple editor of Philosophy of Photography<br />
– an academic journal devoted to the scholarly understand<strong>in</strong>g of<br />
photography. He has published extensively on the subject of new<br />
media, digital culture and photography. His <strong>research</strong> is concerned with<br />
the role of photography <strong>in</strong> contemporary culture and the uses of<br />
photographic imagery <strong>in</strong> new media environments. As an editor of the<br />
journal Philosophy of Photography, he aims to del<strong>in</strong>eate a field of<br />
study which develops tools for the critical analysis of the many ways <strong>in</strong><br />
which images affect our lives. His own <strong>research</strong> is concerned with the<br />
cultural shifts caused by the transition from analogue to digital<br />
photography and by the impact of photography on (non)representational<br />
th<strong>in</strong>k<strong>in</strong>g and the production of mean<strong>in</strong>g.<br />
› Tag, Tagg<strong>in</strong>g, Philosophy of Photography, 1.2, 197-200.
Ana Eva Iribas Rudín<br />
Universidad Complutense de Madrid,<br />
Dept. of Pa<strong>in</strong>t<strong>in</strong>g, Faculty of F<strong>in</strong>e<br />
<strong>Arts</strong>, Greco, 2 Ciudad Universitaria,<br />
Madrid, 28040, Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion, education<br />
Inês Secca Ruivo<br />
Keywords functional-emotional,<br />
biomorphology, rhetoric, design<br />
S<strong>in</strong>ikka Rusanen<br />
University of Hels<strong>in</strong>ki, Department of<br />
Teacher education, University of<br />
Hels<strong>in</strong>ki, P.O.Box 8<br />
(Siltavuorenpenger 10) FI-00014,<br />
University of Hels<strong>in</strong>ki, Hels<strong>in</strong>ki,<br />
F<strong>in</strong>land<br />
Keywords<br />
Ana Eva Iribas Rudín has held a lecturer position at the department of<br />
Pa<strong>in</strong>t<strong>in</strong>g, Faculty of F<strong>in</strong>e <strong>Arts</strong>, Universidad Complutense de Madrid<br />
(UCM) <strong>in</strong> the last five years. She is prepar<strong>in</strong>g her dissertation on the<br />
creative process <strong>in</strong> visual arts and altered states of consciousness; she<br />
holds a degree <strong>in</strong> f<strong>in</strong>e arts and an MA <strong>in</strong> art therapy from the UCM,<br />
and a diploma <strong>in</strong> first cycle of medic<strong>in</strong>e from the Universidad<br />
Autónoma de Madrid.<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.<br />
Inês Secca Ruivo (1972) is an <strong>in</strong>dustrial designer, with a Ph.D. from<br />
the University of Aveiro, titled 'Design para o Futuro. O <strong>in</strong>divíduo<br />
entre o artifício e anatureza/Design for the Future: The <strong>in</strong>dividual<br />
between artifice and nature' She is an assistant professor of the design<br />
programme at the University of Évora and a member of the Centro de<br />
História da Arte e Investigação Artística (CHAIA – Centre of History<br />
of Art and Artistic Research), which belongs to the same entity.<br />
Between 1995 and 2007, she has been prolific <strong>in</strong> the <strong>in</strong>dustry through<br />
collaboration with different <strong>in</strong>ternational companies. In 2005, she was<br />
responsible for the general co-coord<strong>in</strong>ation and supervision of the<br />
production ofproject SMD – Significados da Matéria/ No<br />
Design/Matter Mean<strong>in</strong>gs <strong>in</strong> Design – with<strong>in</strong> the scope of ‘design<br />
towards susta<strong>in</strong>ability’, as def<strong>in</strong>ed by the Art Institute of the Portuguese<br />
M<strong>in</strong>istry of Culture.<br />
› Rhetoric <strong>in</strong> <strong>in</strong>dustrial design, The Poster, 1.1, 61-76.<br />
S<strong>in</strong>ikka Rusanen, Ph.D., Department of Teacher Education, Section of<br />
K<strong>in</strong>dergarten Teacher and Early Childhood Education, lecturer <strong>in</strong><br />
Visual <strong>Arts</strong> Education.<br />
› The identities of an arts educator: Compar<strong>in</strong>g discourses <strong>in</strong> three teacher<br />
education programmes <strong>in</strong> F<strong>in</strong>land, International Journal of Education<br />
through Art, 8.1, 7-21.
Chris Rust<br />
Sheffield Halam University, Art and<br />
Design Research Centre, Furnival<br />
Build<strong>in</strong>g, Arundel Street, Sheffield,<br />
S1 2NU, United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>teractive media, design,<br />
design and healthcare<br />
Nicky Ryan<br />
United K<strong>in</strong>gdom<br />
Keywords cultural studies,<br />
phenomenography, visual<br />
representations, theory and practice<br />
Semi Ryu<br />
Virg<strong>in</strong>ia Commonwealth University,<br />
2144 Ridgefield Green Way,<br />
Richmond, VA, Virg<strong>in</strong>ia, VA 23233,<br />
United States of America<br />
Keywords <strong>in</strong>teractive media, virtual<br />
reality, spirituality, Eastern<br />
philosophy, shamanism<br />
Chris Rust is Professor of Design and Head of the Art and Design<br />
Research Centre at Sheffield Hallam University. He is Chair of the<br />
Design Research Society Council, and a member of the AHRC Peer<br />
Review College. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the role of tacit<br />
knowledge <strong>in</strong> <strong>research</strong> and practice <strong>in</strong> art and design, the role of<br />
personal values <strong>in</strong> <strong>in</strong>teractive media, the relationship between design<br />
and healthcare and the emerg<strong>in</strong>g <strong>research</strong> methods and methodologies<br />
<strong>in</strong> creative discipl<strong>in</strong>es.<br />
› The pedestal and the pendulum: f<strong>in</strong>e art practice, <strong>research</strong> and doctorates,<br />
Journal of Visual Art Practice, 7.2, 133-151.<br />
› Context – Many flowers, small leaps forward: debat<strong>in</strong>g doctoral education <strong>in</strong><br />
design, Art, Design & Communication <strong>in</strong> Higher Education, 1.3, 141-148.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 6.1, 75-.<br />
Nicky Ryan is Pr<strong>in</strong>cipal Lecturer <strong>in</strong> Cultural and Critical Studies at the<br />
London College of Communication at the University of the <strong>Arts</strong><br />
London. Her Ph.D. thesis was an exam<strong>in</strong>ation <strong>in</strong>to cultural-commercial<br />
collaborations and the <strong>in</strong>ter-relationship between corporations, artists,<br />
non-profit cultural <strong>in</strong>stitutions and governments. Research <strong>in</strong>terests<br />
<strong>in</strong>clude the <strong>in</strong>tersection between art and bus<strong>in</strong>ess, corporatemuseums<br />
and art collections, academic and commercial perspectives on luxury,<br />
theories of <strong>in</strong>terior design and the role of culture <strong>in</strong> regeneration. Nicky<br />
has delivered a range of conference papers and published articles <strong>in</strong><br />
relation to the above. Her academic background is <strong>in</strong> the history of art,<br />
and prior to enter<strong>in</strong>g education her <strong>in</strong>dustry experience was <strong>in</strong> the<br />
fashion bus<strong>in</strong>ess.<br />
› Millstone or milestone? The perceived value of cultural studies for art and<br />
design students and teachers, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 8.1, 9-25.<br />
Semi Ryu is an Associate Professor of K<strong>in</strong>etic Imag<strong>in</strong>g at Virg<strong>in</strong>ia<br />
Commonwealth University. Ryu is a media artist <strong>who</strong> specializes <strong>in</strong><br />
experimental 3D animations and virtual puppetry, based on Korean<br />
shamanism and the oral tradition of storytell<strong>in</strong>g. Her works have been<br />
widely presented <strong>in</strong> exhibitions and performances <strong>in</strong> more than fifteen<br />
countries, and her academic papers, which have focused on the<br />
ritualization of <strong>in</strong>teractive media, have been published <strong>in</strong> <strong>in</strong>ternational<br />
journals and conferences. Recently, her virtual puppetry ‘Part<strong>in</strong>g on Z’<br />
was performed at Chelsea Art Museum, NYC<br />
(http://www.semiryu.net).
Toni Ryynänen<br />
University of Hels<strong>in</strong>ki,<br />
Latokartanonkaari 9, PB27, 14,<br />
F<strong>in</strong>land<br />
Keywords media, design, consumer<br />
culture<br />
Alexandra Saemmer<br />
University Paris 8<br />
Keywords digital media, digital<br />
literature, digital art<br />
Olivia Sagan<br />
University of the <strong>Arts</strong>, London, The<br />
› Ritualiz<strong>in</strong>g <strong>in</strong>teractive media: from motivation to activation, Technoetic <strong>Arts</strong>:<br />
A Journal of Speculative Research, 3.2, 105-124.<br />
› Search<strong>in</strong>g for love impossible, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 8.2, 229-236.<br />
› Virtual puppet, my love impossible, Metaverse Creativity, 1.1, 115-127.<br />
Toni Ryynänen is a consumer economist and postdoctoral <strong>research</strong>er<br />
<strong>who</strong> works at the University of Hels<strong>in</strong>ki <strong>in</strong> the Department of<br />
Economics and Management. He holds a D.Sc. <strong>in</strong> Consumer<br />
Economics. His <strong>research</strong> <strong>in</strong>terests focus on media and design studies<br />
and consumer culture <strong>research</strong>.<br />
› Craft <strong>in</strong> economic context: The representation of F<strong>in</strong>nish craft <strong>in</strong> the<br />
economic press, Craft Research, 2.1, 115-127.<br />
Alexandra Saemmer is Associate Professor of Information and<br />
Communication Sciences at University Paris 8. Her current <strong>research</strong><br />
projects focus on semiotics and aesthetics of digital media, and read<strong>in</strong>g<br />
and writ<strong>in</strong>g on digital supports. She is author and editor of several<br />
books and articles on digital literature and arts. Her books <strong>in</strong>clude<br />
Matières textuelles sur support numérique (Publications de l’Université<br />
de Sa<strong>in</strong>t-Etienne, 2007), E-Formes 2 : Les littératures et arts<br />
numérique sau risque du jeu (2011, co-editor, Publications de<br />
l’Université de Sa<strong>in</strong>t-Etienne); and E-Formes 1 : Ecritures visuelles sur<br />
support numérique (2008, co-editor, Publications de l’Université de<br />
Sa<strong>in</strong>t-Etienne). She also writes ‘paper’ poetry and fiction <strong>in</strong> German<br />
(recently, ‘Das H<strong>in</strong>terhaus’/'The rear build<strong>in</strong>g', 'Neuerd<strong>in</strong>gs weiß ich<br />
viel mehr'/'Recently I know much more', textem, 2010).<br />
› Writ<strong>in</strong>g the ephemeral […] and re-enchant<strong>in</strong>g the remnants: The lability of<br />
the digital device <strong>in</strong> literary practice, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice,<br />
4.1, 79-92.<br />
Dr. Olivia Sagan is Senior Research Fellow (Pedagogy) at the<br />
University of the <strong>Arts</strong>, London. She is <strong>in</strong>terested <strong>in</strong> the <strong>in</strong>terface of<br />
formal and community-based education and her <strong>research</strong> questions the
Centre for Learn<strong>in</strong>g & Teach<strong>in</strong>g <strong>in</strong><br />
Art & Design, 6th Floor, 272 High<br />
Holborn, London, WC1V 7EY,<br />
United K<strong>in</strong>gdom<br />
Keywords creativity, emotion,<br />
identity, space, transitional<br />
Prabha Sahasrabudhe<br />
Teachers College Columbia<br />
University, <strong>Arts</strong> and Humanities Box<br />
78, 525 West 120th Street, New York,<br />
NY 10027, United States of America<br />
Keywords education, advocacy,<br />
cognition, curriculum<br />
Andy Salmon<br />
Anglia Rusk<strong>in</strong> University<br />
Keywords<br />
Paul<strong>in</strong>e Sameshima<br />
Wash<strong>in</strong>gton State University, College<br />
of Education, Cleveland Hall,<br />
Pullman, Wash<strong>in</strong>gton, PO Box<br />
potential of each, <strong>in</strong>dividually or <strong>in</strong> partnership, to address issues of<br />
social <strong>in</strong>equity.<br />
› Insight on OutReach: Towards a critical practice, International Journal of<br />
Education through Art, 6.2, 145-161.<br />
› Playgrounds, studios and hid<strong>in</strong>g places: emotional exchange <strong>in</strong> creative<br />
learn<strong>in</strong>g spaces, Art, Design & Communication <strong>in</strong> Higher Education, 6.3,<br />
173-186.<br />
› Thou Art: The multiple gaze of audio-visual, community-based participatory<br />
<strong>research</strong>, Journal of Applied <strong>Arts</strong> & Health, 2.2, 125-136.<br />
Prabha Sahasrabudhe retired as a full-time faculty member at Teachers<br />
College Columbia University, New York <strong>in</strong> 1999. He currently holds<br />
an honorary position there as the Director/Secretary of the Center for<br />
International Art Education, Inc. Professor Sahasrabudhe came to<br />
Teachers College after more than eighteen years of teach<strong>in</strong>g and<br />
adm<strong>in</strong>istration <strong>in</strong> New York State public schools. Prior to that he was<br />
an Associate Professor of Art Education at the School of Education,<br />
New York University. He is a former President of the United States<br />
Society for Education through Art, and has served as a member of the<br />
InSEA World Council. In 2003, he edited and published International<br />
Conversations thru Art: Proceed<strong>in</strong>gs of the InSEA World Congress<br />
2002, the Congress he chaired.<br />
› Design for learn<strong>in</strong>g through the arts, International Journal of Education<br />
through Art, 2.2, 77-92.<br />
› REVIEWS, Book 2.0, 1.1, 75-86.<br />
Paul<strong>in</strong>e Sameshima is an Assistant Professor <strong>in</strong> the Department of<br />
Teach<strong>in</strong>g and Learn<strong>in</strong>g <strong>in</strong> the College of Education at Wash<strong>in</strong>gton<br />
State University. She teachesgraduate courses <strong>in</strong> the Cultural Studies<br />
and Social Thought <strong>in</strong> Education programme. She is <strong>in</strong>terested <strong>in</strong>
642112, United States of America<br />
Keywords embodied heteroglossic<br />
spaces, immigration, identity,<br />
practice-based <strong>research</strong>, arts-based<br />
<strong>research</strong>, curriculum<br />
Roberto Sánchez-Camus<br />
Keywords<br />
James H. Sanders III<br />
The Ohio State University,<br />
Department of Art Education, 128<br />
North Oval Mall, Columbu, OH,<br />
43210-1363, United States of<br />
America<br />
Keywords heritage, economic policy,<br />
identity, representation, craft<br />
L<strong>in</strong>da Sand<strong>in</strong>o<br />
University of the <strong>Arts</strong> London, CCW<br />
Graduate School, Research<br />
Department, Victoria and Albert<br />
Museum, London, SW7 2RL, United<br />
K<strong>in</strong>gdom<br />
Keywords life stories, narrative<br />
creative qualitative <strong>research</strong> methodologies, susta<strong>in</strong>able learn<strong>in</strong>g<br />
systems design, and arts and technology <strong>in</strong>tegration.<br />
› Render<strong>in</strong>g Embodied Heteroglossic Spaces, Journal of <strong>Arts</strong> & Communities,<br />
1.2, 129-146.<br />
› The art of dy<strong>in</strong>g: Aesthetics and palliative care, Journal of Applied <strong>Arts</strong> &<br />
Health, 2.2, 155-164.<br />
James H. Sanders III is Assistant Professor <strong>in</strong> the Art Education<br />
Department at Ohio State University’s <strong>Arts</strong> Policy and Adm<strong>in</strong>istration<br />
programme, and directs the museum specialization. Dr Sanders teaches<br />
courses on arts education policy, nonprofit boards and governance, arts<br />
career development, critical theories and cultural studies of arts policy<br />
and practice, and museum education history. His <strong>research</strong> explores arts<br />
education curricula and cultural productions, <strong>in</strong>stitutional histories,<br />
organizational governance, management, and social change <strong>in</strong>itiatives.<br />
Sanders’ arts-based narrative and <strong>in</strong>terpretive <strong>research</strong> exam<strong>in</strong>es<br />
<strong>in</strong>stitutional policy and practice through a critically queer lens;<br />
explor<strong>in</strong>g sites of cultural (re)production and reception that <strong>in</strong>clude<br />
non-profit art and history museums, community arts organizations,<br />
media culture and school sett<strong>in</strong>gs.<br />
› Culture, identity, representation: the economic policies of heritage tourism,<br />
International Journal of Education through Art, 5.2&3, 129-142.<br />
Dr. L<strong>in</strong>da Sand<strong>in</strong>o is CCW/V&A Museum Senior Research Fellow<br />
work<strong>in</strong>g on narrative and oral histories. Previously, she collected<br />
extensive life history record<strong>in</strong>gs of artists and designers for National<br />
Life Stories at The British Library National Sound Archive, and she is<br />
also project director of the Design History Society oral history project.<br />
› Relat<strong>in</strong>g process: accounts of <strong>in</strong>fluence <strong>in</strong> the life history <strong>in</strong>terview, Journal
esearch, oral history, identity<br />
Claudia Sandoval<br />
University of Sao Paulo, Rua do<br />
Anfiteatro, 200. Bloco C Ap 305,<br />
CRUSP. CEP., São Paulo, 05508-030,<br />
Brazil<br />
Keywords subversive, obsolescence,<br />
critic, web art<br />
Chetan S. Sankar<br />
Auburn University, Department of<br />
Management, College of Bus<strong>in</strong>ess,<br />
Auburn, AL 36849, United States of<br />
America<br />
Keywords teach<strong>in</strong>g, <strong>research</strong>, design<br />
of Visual Art Practice, 6.3, 191-200.<br />
Claudia Sandoval is a Colombian artist and <strong>research</strong>er for the masters<br />
degree <strong>in</strong> multimedia arts at the University of Sao Paulo, Brazil, with<br />
the support of the Scholarship Fapesp. She has participated <strong>in</strong><br />
exhibitions such as ‘FILE’, Sao Paulo, ‘BOR’, Serbia, ‘Documentary<br />
Photography’, Colombia, ‘Salao de Abril’, Fortaleza, Brazil,<br />
‘Rundgang’, Cologne, Germany and ‘M<strong>in</strong>us E<strong>in</strong>s’, Wuppertal,<br />
Germany. She has presented lectures at the Institute of Cultural<br />
Diversity, New York, Universidad del Valle, Colombia, Consciousness<br />
Reframed, Munich, and ABCiber, Sao Paulo, Brazil. She has also<br />
published articles about photography, art and contemporary aesthetics<br />
<strong>in</strong> magaz<strong>in</strong>es <strong>in</strong> Brazil, the US, Germany, Spa<strong>in</strong>, Colombia, Mexico<br />
and England.<br />
› A read<strong>in</strong>g on de-territorialization's works of art for the Internet: places,<br />
localities and the Internet as a territory, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 8.2, 237-242.<br />
› For a critical perspective of the value of web art, Metaverse Creativity, 1.1,<br />
21-33.<br />
Chetan S. Sankar is the Thomas Walter Professor of Management at<br />
Auburn University’s College of Bus<strong>in</strong>ess. He received his Ph.D. from<br />
the Wharton School, University of Pennsylvania and has worked at<br />
Temple University and AT&T Bell Laboratories. His <strong>research</strong> <strong>in</strong>terests<br />
focus on <strong>research</strong><strong>in</strong>g <strong>in</strong>novative practices to <strong>in</strong>tegrate teach<strong>in</strong>g,<br />
<strong>research</strong>, and outreach both locally and globally (www.litee.org). He<br />
has published more than 150 papers <strong>in</strong> journals, book chapters, and<br />
conference proceed<strong>in</strong>gs. He has won awards for <strong>research</strong> and teach<strong>in</strong>g<br />
from the Society for Information Management, iNEER, Decision<br />
Sciences Institute, American Society for Eng<strong>in</strong>eer<strong>in</strong>g Education,<br />
Frontiers <strong>in</strong> Education, and the Project Management Institute. He is the<br />
editor of the Decision Sciences Journal of Innovative Education<br />
(www.dsjie.org). He has been the pr<strong>in</strong>cipal or co-pr<strong>in</strong>cipal <strong>in</strong>vestigator<br />
of several grants from the National Science Foundation budgeted at<br />
more than $2.2 million.<br />
› Action learn<strong>in</strong>g: Application to case study development <strong>in</strong> graduate design<br />
education, Art, Design & Communication <strong>in</strong> Higher Education, 9.2, 183-198.
Kathar<strong>in</strong>e Sarikakis<br />
University of Vienna, Universitaet<br />
Wien Department of Communication,<br />
Institut fuer Publizistik- und<br />
Kommunikationswissenschaft,<br />
Berggasse 11/5, Stiege 1, Wien, 1090,<br />
Austria<br />
Keywords postgraduate students,<br />
gender and higher education, mass<br />
communication<br />
Pamela Schenk<br />
Heriot Watt University, School of<br />
Textiles and Design, United K<strong>in</strong>gdom<br />
Keywords draw<strong>in</strong>g <strong>research</strong>, design<br />
process, design education<br />
Andreas Schiffler<br />
Z-Node der Züricher Hochschule der<br />
Künste (ZHdK), Ausstellungsstrasse<br />
60, Zurich, CH-8005, Switzerland<br />
Keywords game physics, game<br />
design, random number generation,<br />
entropy generation, stochastic<br />
processes<br />
Kathar<strong>in</strong>e Sarikakis is professor of media governance, media<br />
organization and media <strong>in</strong>dustries at the Institute of Communication<br />
Studies, the University of Vienna. She is the co-author of Media Policy<br />
and Globalisation (2006) and the co-editor of Fem<strong>in</strong>ist Interventions <strong>in</strong><br />
International Communication (2008) and numerous chapters and<br />
articles on media and cultural policy.<br />
› In the land of becom<strong>in</strong>g: the gendered experience of communication doctoral<br />
students, Art, Design & Communication <strong>in</strong> Higher Education, 2.1, 29-48.<br />
Dr. Pam Schenk has been <strong>in</strong>volved with higher education <strong>in</strong> art and<br />
design for over 35 years. She has taught at all levels, concentrat<strong>in</strong>g <strong>in</strong><br />
recent years on postgraduate studies and <strong>research</strong> <strong>in</strong> design, and has<br />
been a senior academic at the Manchester Metropolitan University,<br />
Glasgow School of Art, the Birm<strong>in</strong>gham Institute of Art and Design<br />
(University of Central England) and Duncan of Jordanstone College<br />
(Dundee University). She is now an Honorary Research Professor at<br />
Gray’s School of Art (The Robert Gordon University), Aberdeen,<br />
Scotland and is currently a Visit<strong>in</strong>g Professor at the School of Art,<br />
Design and Media, Nanyang Technological University, S<strong>in</strong>gapore.<br />
› Reflections on the teach<strong>in</strong>g of draw<strong>in</strong>g <strong>in</strong> the digital age: attitudes of senior<br />
academics <strong>in</strong> the United K<strong>in</strong>gdom to the place of draw<strong>in</strong>g tuition on the<br />
design curriculum <strong>in</strong> higher education, Art, Design & Communication <strong>in</strong><br />
Higher Education, 4.3, 189-204.<br />
Andreas Schiffler is a graduate of the University of Saskatchewan,<br />
Canada where he received his M.Sc. <strong>in</strong> Space Physics at ISAS <strong>in</strong> 1996.<br />
He worked with media artists Prof. Jill Scott and later the Institute of<br />
Visual Media under Dr. Jeffrey Shaw at the ZKM media-art <strong>in</strong>stitute <strong>in</strong><br />
Karlsruhe, Germany. He is currently complet<strong>in</strong>g a Ph.D. with the<br />
Z_node of the Planetary Collegiums at the ZHdK, Zurich, Switzerland<br />
<strong>research</strong><strong>in</strong>g the l<strong>in</strong>kage between computer games and physics <strong>in</strong> a cross<br />
discipl<strong>in</strong>ary way. He has also worked full time as software architect<br />
with various IT startups <strong>in</strong> the past and is currently a software tester <strong>in</strong><br />
the STB division at Microsoft Corporation, Redmond, United States.<br />
› Physical Entropy <strong>in</strong> Computer Games, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 8.1, 39-45.
Christian W. Schneider<br />
University of Georgia, English<br />
Department, Kettengasse 12,<br />
Heidelberg, 69117, Germany<br />
Keywords authenticity, Alison<br />
Bechdel, autobiography, Gothic<br />
Diederik W. Schönau<br />
Cito, Cito, P. O. Box 1034, 6801MG<br />
Arnhem, The Netherlands<br />
Keywords<br />
Sven Christian Schuch<br />
Keywords<br />
Christian W. Schneider studied English Literature and Political Science<br />
at Ruprecht-Karls-Universität Heidelberg, Germany, and at the<br />
University of Wales Aberystwyth, receiv<strong>in</strong>g his Master’s degree. His<br />
master’s thesis concerned the Gothic elements <strong>in</strong> Neil Gaiman’s The<br />
Sandman. He is now a post-graduate student at the Heidelberg<br />
Graduate School for Humanities and Social Sciences at Ruprecht-<br />
Karls-Universität, work<strong>in</strong>g on his doctoral dissertation on the Gothic <strong>in</strong><br />
graphic literature, which will <strong>in</strong>clude an extended chapter on Fun<br />
Home and autobiographical comics. His further <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude contemporary American fiction, the narrativity of digital media<br />
and the postmodern transformation of popular literary genres.<br />
› Young daughter, old artificer: Construct<strong>in</strong>g the Gothic Fun Home, Studies <strong>in</strong><br />
Comics, 1.2, 337-358.<br />
Diederik W. Schönau is Senior Consultant <strong>in</strong> educational assessment at<br />
Cito, the <strong>in</strong>stitute for educational measurement <strong>in</strong> the Netherlands. His<br />
background is <strong>in</strong> art history and psychology, and has been active <strong>in</strong> the<br />
field of art education s<strong>in</strong>ce 1982. He has published on many issues with<br />
regards to art education, <strong>in</strong>clud<strong>in</strong>g assessment and policy. He has<br />
served the Executive Board of InSEA <strong>in</strong> many positions, <strong>in</strong>clud<strong>in</strong>g the<br />
Presidency from 1999 to 2002.<br />
› Towards developmental self-assessment <strong>in</strong> the visual arts: Support<strong>in</strong>g new<br />
ways of artistic learn<strong>in</strong>g <strong>in</strong> school, International Journal of Education<br />
through Art, 8.1, 49-58.<br />
› Exhibition Reviews, Journal of Curatorial Studies, 1.1, 101-116.<br />
Michael Schwab Michael Schwab is a London-based German artist and <strong>research</strong>er, <strong>who</strong><br />
has exhibited his work both <strong>in</strong> the United K<strong>in</strong>gdom and abroad.<br />
Start<strong>in</strong>g out us<strong>in</strong>g photography, he breaches a narrow def<strong>in</strong>ition of<br />
‘medium’ <strong>in</strong> his work, focus<strong>in</strong>g on post-conceptual uses of technology.
Keywords photography, draw<strong>in</strong>g,<br />
<strong>in</strong>stallation art, pa<strong>in</strong>t<strong>in</strong>g, pr<strong>in</strong>tmak<strong>in</strong>g<br />
Christian Schwager<br />
Keywords digitality, hypertext, nonl<strong>in</strong>earity,<br />
posthumanism, rhizome<br />
Kirsten Scott<br />
Royal College of Art, Textiles<br />
Department, Kens<strong>in</strong>gton Gore,<br />
London, SW7 2EU, United K<strong>in</strong>gdom<br />
Keywords craft, fashion, plaited palm<br />
fibre<br />
Bill Seaman<br />
Duke University, Department of Art,<br />
Art History and Visual Studies, 114b<br />
East Duke Build<strong>in</strong>g, BOX 90764,<br />
Durham, North Carol<strong>in</strong>a, 27708,<br />
United States of America<br />
Apart from photography, he employs draw<strong>in</strong>g, <strong>in</strong>stallation art, pa<strong>in</strong>t<strong>in</strong>g<br />
and pr<strong>in</strong>tmak<strong>in</strong>g to produce work that is often conceptually developed<br />
on the computer. He received his Ph.D. from the Royal College of Art<br />
for his <strong>research</strong> entitled: Image Automation: Post-conceptual Postphotography<br />
and the Deconstruction of the Photographic Image. He is<br />
a tutor at the Royal College of Art, London, <strong>research</strong> associate at the<br />
Berne University of <strong>Arts</strong>, Switzerland, and <strong>research</strong> fellow at the<br />
Orpheus Research Centre <strong>in</strong> Music, Ghent, Belgium. He is the<br />
found<strong>in</strong>g editor-<strong>in</strong>-chief of the Journal for Artistic Research.<br />
› First, the second: Walter Benjam<strong>in</strong>’s theory of reflection and the question of<br />
artistic <strong>research</strong>, Journal of Visual Art Practice, 7.3, 213-223.<br />
Christian Schwager is a freelance illustrator, comic artist and web<br />
designer, based <strong>in</strong> Auckland, New Zealand.<br />
› Rhizomatic cyborgs: hypertextual considerations <strong>in</strong> a posthuman age,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 2.1, 3-16.<br />
Kirsten Scott is currently <strong>research</strong><strong>in</strong>g the potential of craft <strong>in</strong> ethical<br />
sourc<strong>in</strong>g for fashion, through a development project, as part of a Ph.D.<br />
<strong>in</strong> Constructed Textiles at the Royal College of Art, with a particular<br />
focus on plaited palm fibre. She is also Head of Fashion at Kens<strong>in</strong>gton<br />
and Chelsea College, with a background <strong>in</strong> fashion accessory design<br />
and production.<br />
› Meet<strong>in</strong>g the maker: Warm irregularity <strong>in</strong> traditional African craft practice,<br />
Craft Research, 2.1, 61-82.<br />
An <strong>in</strong>ternationally known media artist, scholar, and media <strong>research</strong>er,<br />
Seaman has had over 30 major <strong>in</strong>stallation works and commissions<br />
around the world, a dozen solo exhibitions, and numerous performance<br />
collaborations, video screen<strong>in</strong>gs, and articles/essays/reviews <strong>in</strong> books<br />
and catalogues. His work explores an expanded media-oriented poetics<br />
through various technological means. More recently he has been<br />
explor<strong>in</strong>g notions surround<strong>in</strong>g 'Recomb<strong>in</strong>ant Informatics' – a multi-
Keywords hybrid <strong>in</strong>vention, mach<strong>in</strong>ic<br />
genetics, recomb<strong>in</strong>ant poetics,<br />
generative text, recomb<strong>in</strong>ant music,<br />
second-order cybernetics,<br />
Neosentience, AI, polysens<strong>in</strong>g,<br />
<strong>in</strong>terface <strong>research</strong>, database aesthetics<br />
Rosaura Navajas Seco<br />
Complutense University of Madrid,<br />
Department of Physical Education at<br />
Faculty of Education, Office 1609, c/<br />
Rector Royo Vilanova s/n, Madrid,<br />
28040, Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion, education<br />
perspective approach to poetics and knowledge production. He has<br />
been commissioned on a number of occasions. He is currently work<strong>in</strong>g<br />
on a series of art/science collaborations – poetic <strong>in</strong>stallations, scientific<br />
<strong>research</strong> papers, and a book <strong>in</strong> collaboration with the scientist Otto<br />
Rössler surround<strong>in</strong>g the concept of Neosentience. This <strong>research</strong><br />
<strong>in</strong>cludes the model<strong>in</strong>g and long-term production of an Electrochemical<br />
Computer. He is also collaborat<strong>in</strong>g with artist/computer scientist<br />
Daniel Howe on multiple works explor<strong>in</strong>g AI and creative<br />
writ<strong>in</strong>g/multi-media and complet<strong>in</strong>g an album of experimental music<br />
with Howe entitled Entanglement<br />
› The Hybrid Invention Generator: assorted relations, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 1.2, 103-116.<br />
› (Re)sens<strong>in</strong>g the observer: offer<strong>in</strong>g an open order cybernetics, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 2.1, 17-32.<br />
› Neosentience – a new branch of scientific and poetic <strong>in</strong>quiry related to<br />
artificial <strong>in</strong>telligence, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
6.1, 31-40.<br />
› (Re)Th<strong>in</strong>k<strong>in</strong>g - the body, generative tools and computational articulation,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.3, 209-230.<br />
The <strong>research</strong> group ‘Aplicaciones del arte para la <strong>in</strong>clusión social: arte,<br />
terapia y educación para la diversidad’/'Applications of art for social<br />
<strong>in</strong>clusion: art, therapy and education for diversity' is a part of a larger<br />
team of teach<strong>in</strong>g staff at the Complutense University of Madrid, which<br />
has promoted studies on art, social <strong>in</strong>clusion and art therapy, to a<br />
European MA and Ph.D. The group, composed of Primary and<br />
Secondary Schools teachers, professors at the Faculty of Education and<br />
<strong>research</strong>ers on Art Education and Art Therapy, has published a variety<br />
of books on art therapy and social <strong>in</strong>clusion, such as Creación y<br />
posibilidad/Creation and Possibility (López Fernández Cao 2006) and<br />
Arteterapia y educación/Art Therapy and Education (Martínez Díez<br />
and López Fernández Cao 2004), and a collection of thirteen<br />
educational projects under the name ‘Posibilidades<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.<br />
Lesley Seeger Lesley Seeger is a professional artist work<strong>in</strong>g on the renal unit at York<br />
Hospital and has pa<strong>in</strong>ted full time for the past 15 years. Lesley is a
York Teach<strong>in</strong>g Hospital NHS<br />
Foundation Trust, The York Hospital,<br />
Wigg<strong>in</strong>ton Road, York, YO31 8HE,<br />
United K<strong>in</strong>gdom<br />
Keywords art therapy, art<br />
development<br />
William P. Seeley<br />
Frankl<strong>in</strong> and Marshall College,<br />
Department of Philosophy, PO Box<br />
3003, Lancaster, Pennsylvania, PA<br />
17604-3003, United States of<br />
America<br />
Keywords aesthetics, cognitive<br />
neuroscience, neuroaesthetics, vision,<br />
mental imagery<br />
Pirita Seitamaa-<br />
Hakkara<strong>in</strong>en<br />
Keywords design education, design<br />
experiment, collaborative design<strong>in</strong>g,<br />
textile design project, virtual design<br />
studio<br />
Alexander Sekatskiy<br />
кв. 38, ул. Бурцева д. 20, Санкт-<br />
Петербург, St Petersburg, Russia<br />
Keywords memory prosthetic,<br />
qualified art therapist with experience of us<strong>in</strong>g the creative process <strong>in</strong> a<br />
variety of therapeutic sett<strong>in</strong>gs <strong>in</strong>clud<strong>in</strong>g the NHS and NSPCC. She<br />
jo<strong>in</strong>ed the Art and Design Team <strong>in</strong> 2006 as Art Development Worker<br />
<strong>in</strong> the renal units of York, Eas<strong>in</strong>gwold and Harrogate hospitals.<br />
› Forgett<strong>in</strong>g the mach<strong>in</strong>e: Patients experiences of engag<strong>in</strong>g <strong>in</strong> artwork while<br />
on renal dialysis, Journal of Applied <strong>Arts</strong> & Health, 2.1, 57-72.<br />
William P. Seeley is a professor of philosophy and a sculptor. He<br />
received his M.F.A. from Columbia University <strong>in</strong> 1992, his Ph.D. from<br />
CUNY – The Graduate Center <strong>in</strong> the spr<strong>in</strong>g of 2006, and is currently<br />
Visit<strong>in</strong>g Assistant Professor <strong>in</strong> the Department of Philosophy at<br />
Frankl<strong>in</strong> and Marshall College <strong>in</strong> Lancaster, PA. His welded steel<br />
sculptures and mobiles have been exhibited <strong>in</strong> New York City, Tokyo,<br />
at the Addison Gallery of American Art, and at Yale University.<br />
› Naturaliz<strong>in</strong>g aesthetics: art and the cognitive neuroscience of vision, Journal<br />
of Visual Art Practice, 5.3, 195-214.<br />
Pirita Seitamaa-Hakkara<strong>in</strong>en is Professor of Craft Science at the<br />
Savonl<strong>in</strong>na Department of Teacher Education, University of Joensuu.<br />
She is also a Visit<strong>in</strong>g Professor at the University of Art and Design,<br />
Hels<strong>in</strong>ki, UIAH. Her <strong>research</strong> <strong>in</strong>terests focus on expert-novice<br />
differences <strong>in</strong> design<strong>in</strong>g as well as facilitation of collaborative design<br />
through technology-based learn<strong>in</strong>g environments.<br />
› Three design experiments for computer-supported collaborative design, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 4.2, 101-120.<br />
› Sources of <strong>in</strong>spiration and mental image <strong>in</strong> textile design process, Art,<br />
Design & Communication <strong>in</strong> Higher Education, 7.2, 105-119.<br />
Alexander Sekatskiy is an Associate Professor and Chair of Social<br />
Philosophy and the Philosophy of History at Sa<strong>in</strong>t-Petersburg State<br />
University. He is a Visit<strong>in</strong>g Professor at the Institute of Politics <strong>in</strong><br />
Sa<strong>in</strong>t-Petersburg. He has published extensively on phenomenology,<br />
existentialism and the philosophy of history. Selected publications<br />
<strong>in</strong>clude The ontology of ly<strong>in</strong>g (Sa<strong>in</strong>t-Petersburg, 2000), The danger of
chronometry, perception, visual turn,<br />
mental image<br />
Adele Senior<br />
University of Exeter, Department of<br />
Drama, College of Humanities,<br />
Thornlea, Exeter, Devon, EX4 4LA,<br />
United K<strong>in</strong>gdom<br />
Keywords discourse, performance,<br />
sacred, semi-liv<strong>in</strong>g, tissue culture<br />
J<strong>in</strong>sil Seo<br />
Simon Fraser University, School of<br />
Interactive <strong>Arts</strong> and Technology, 318-<br />
545 Rochester Ave., Coquitlam, BC,<br />
V3K2V4, Canada<br />
Keywords <strong>in</strong>teractive immersive<br />
environment, body <strong>in</strong>terface, physical<br />
<strong>in</strong>teraction, flow of energy, organic<br />
<strong>in</strong>terface, light, aesthetics of<br />
immersion<br />
James Michael Shaeffer<br />
reality (Sa<strong>in</strong>t-Petersburg, 2003) and Applied Metaphysics (Sa<strong>in</strong>t-<br />
Petersburg, 2005).<br />
› The photographic argument of philosophy, Philosophy of Photography, 1.1,<br />
81-88.<br />
Adele Senior is a Ph.D. candidate at the Lancaster Institute for the<br />
Contemporary <strong>Arts</strong>, Lancaster University, UK. Her thesis, funded by<br />
the <strong>Arts</strong> and Humanities Research Council, exam<strong>in</strong>es the relationship<br />
between theory and practice <strong>in</strong> the work of bioartists <strong>research</strong><strong>in</strong>g and<br />
publish<strong>in</strong>g with<strong>in</strong> the academy. This concern parallels her own attempt<br />
to negotiate bioart practices through the academic text of the artist.<br />
With a background <strong>in</strong> Theatre and Performance Studies she is<br />
<strong>in</strong>terested <strong>in</strong> the relationship of these texts and practices to<br />
conceptualisations of theatre and performativity and the potential of<br />
this relationship <strong>in</strong> constitut<strong>in</strong>g a ‘poststructural’ approach to the<br />
analysis of contemporary bio(techno)logical art.<br />
› Towards a (Semi-)Discourse of the Semi-Liv<strong>in</strong>g; The Undecidability of a<br />
Life Exposed to Death, Technoetic <strong>Arts</strong>: A Journal of Speculative Research,<br />
5.2, 97-112.<br />
J<strong>in</strong>sil Seo is an Interactive Artist/Designer and a Ph.D. candidate at<br />
the School of Interactive <strong>Arts</strong> and Technology at Simon Fraser<br />
University <strong>in</strong> Canada. Her <strong>in</strong>terdiscipl<strong>in</strong>ary, <strong>in</strong>teractive art practice<br />
<strong>in</strong>vestigates the <strong>in</strong>tersection between body, nature and technology. She<br />
has created several <strong>in</strong>teractive environments that evoke these<br />
experiential properties of immersion, as well as <strong>in</strong>teractive<br />
<strong>in</strong>stallations, responsive environments, wearable comput<strong>in</strong>g projects,<br />
and web projects. Seo has chosen <strong>in</strong>teractive art for her creative<br />
practice and <strong>research</strong> <strong>in</strong> particular because it encourages active, self<br />
determ<strong>in</strong>ed relationships with<strong>in</strong> a work of art.<br />
› Touch<strong>in</strong>g light: A new framework for immersion <strong>in</strong> artistic environments,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 5.1, 3-14.
Keywords<br />
Greg Shapley<br />
University of Technology, Media <strong>Arts</strong><br />
and Production, 4/32 Queen Street,<br />
Beaconsfield, Sydney, New South<br />
Wales, 2015, Austria<br />
Keywords media art, production,<br />
photomedia<br />
Mae Shaw<br />
University of Ed<strong>in</strong>burgh, Moray<br />
House School of Education, Holyrood<br />
Road, Ed<strong>in</strong>burgh, EH8 7HA, United<br />
K<strong>in</strong>gdom<br />
Keywords community worker,<br />
community development, education<br />
Raja Shehadeh<br />
Raja Shehadeh can be contacted<br />
through Karol<strong>in</strong>a Sutton, at Curtis<br />
Brown Group Ltd., Curtis Brown, 5th<br />
Floor, Haymarket House, 28–29<br />
Haymarket, London, Scotland, SW1Y<br />
4SP, United K<strong>in</strong>gdom<br />
Keywords human rights, <strong>in</strong>ternational<br />
law, Middle East<br />
› WEBSITE REVIEW, Journal of Curatorial Studies, 1.1, 117-119.<br />
Greg Shapely teaches <strong>in</strong> Media <strong>Arts</strong> and Production at the University<br />
of Technology, Sydney and <strong>in</strong> Photomedia at Sydney College of the<br />
<strong>Arts</strong>. He was Director and Curator of Don't Look Experimental New<br />
Media Gallery, Dulwich Hill, and a practic<strong>in</strong>g artist.<br />
› After the artefact: Post-digital photography <strong>in</strong> our post-media era, Journal of<br />
Visual Art Practice, 10.1, 5-20.<br />
Mae Shaw worked as a community worker <strong>in</strong> a range of sett<strong>in</strong>gs <strong>in</strong> the<br />
voluntary sector for 15 years and is now a senior lecturer <strong>in</strong> the<br />
Institute for Education, Community and Society at the Moray House<br />
School of Education, University of Ed<strong>in</strong>burgh. She writes extensively<br />
on community development and has co-edited a number of books<br />
<strong>in</strong>clud<strong>in</strong>g Popular Education and Social Movements <strong>in</strong> Scotland Today<br />
(1999), Community Development <strong>in</strong> Theory and Practice: An<br />
International Reader (2008) and Community Development <strong>in</strong>the United<br />
K<strong>in</strong>gdom: 1950–2010 (2011). She is a longstand<strong>in</strong>g member of the<br />
Community Development Journal.<br />
› Community development and the arts: Susta<strong>in</strong><strong>in</strong>g the democratic imag<strong>in</strong>ation<br />
<strong>in</strong> lean and mean times, Journal of <strong>Arts</strong> & Communities, 2.1, 65-80.<br />
Raja Shehadeh is a Palest<strong>in</strong>ian human rights lawyer and the author of<br />
Strangers <strong>in</strong> the House (2002), When the Bulbul Stopped S<strong>in</strong>g<strong>in</strong>g<br />
(2003), A Rift <strong>in</strong> Time: Travels with My Ottoman Uncle (2010) and<br />
Palest<strong>in</strong>ian Walks (2007), which won the 2008 Orwell Book Prize.<br />
Raja was born <strong>in</strong> Ramallah and tra<strong>in</strong>ed as a barrister <strong>in</strong> London before<br />
return<strong>in</strong>g to Palest<strong>in</strong>e to practice law with his father. In 1979 he cofounded<br />
the pioneer<strong>in</strong>g human rights organization Al Haq (Law <strong>in</strong> the<br />
Service of Man). He is the author of several books on <strong>in</strong>ternational law,<br />
human rights and the Middle East.
Lynette Sheridan Burns<br />
University of Western Sydney,<br />
School of Communication, Design<br />
and Media, Locked Bag 1797, Penrith<br />
Campus, Sydney, New South Wales,<br />
1797, Australia<br />
Keywords critical reflection,<br />
professional education, journalism,<br />
efficacy<br />
Alexandra Sherlock<br />
Department of Sociological Studies at<br />
the University of Sheffield<br />
Keywords<br />
Stephanie Shestakow<br />
Keywords art history, museum<br />
education, Atlantic World<br />
› An Imag<strong>in</strong>ed Sarha, Journal of <strong>Arts</strong> & Communities, 2.2, 133-144.<br />
Lynette Sheridan Burns has been a journalist for more than 25 years<br />
and has also taught journalism <strong>in</strong> Australian universities s<strong>in</strong>ce 1989.<br />
She founded the journalism programme at the University of Newcastle,<br />
New South Wales <strong>in</strong> 1992 before mov<strong>in</strong>g to her current position as<br />
Associate Professor of Journalism at the University of Western Sydney<br />
<strong>in</strong> 2002. She has won numerous awards for journalism, mostly recently<br />
<strong>in</strong> 2002, and <strong>in</strong> 1999 won the Australian Award for Excellence <strong>in</strong><br />
Educational Publish<strong>in</strong>g (Teach<strong>in</strong>g and Learn<strong>in</strong>g Package) and a<br />
University Award for Excellence <strong>in</strong> Teach<strong>in</strong>g. She published<br />
Understand<strong>in</strong>g Journalism, with Sage Publications <strong>in</strong> 2002 and today<br />
comb<strong>in</strong>es teach<strong>in</strong>g with freelance journalism, curriculumdesign<br />
consultancy and on-go<strong>in</strong>g <strong>research</strong> <strong>in</strong>to teach<strong>in</strong>g and learn<strong>in</strong>g. Her<br />
Ph.D. explores the role of tertiary education <strong>in</strong> prepar<strong>in</strong>g practitioners<br />
<strong>in</strong> journalism.<br />
› A reflective approach to teach<strong>in</strong>g journalism, Art, Design & Communication<br />
<strong>in</strong> Higher Education, 3.1, 5-16.<br />
Alexandra Sherlock is the postgraduate <strong>research</strong>er for 'If the Shoe Fits:<br />
Footwear, Identity and Transition', an ESRC funded <strong>research</strong> project<br />
currently be<strong>in</strong>g conducted <strong>in</strong> the Department of Sociological Studies at<br />
the University of Sheffield:www.sheffield.ac.uk/iftheshoefits.<br />
› BOOK REVIEWS, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 237-247.<br />
Stephanie Shestakow earned a BA <strong>in</strong> Art History at Barnard College,<br />
followed by Masters degrees from University College London and<br />
Teachers College, Columbia University. Her orig<strong>in</strong>al specialization<br />
was eighteenth-century art, particularly that of the French Revolution,<br />
but now she focuses on museum education as well as the visual culture<br />
of the Atlantic World. She has taught museum-learn<strong>in</strong>g workshops and<br />
has published reviews <strong>in</strong> several academic journals. She currently<br />
serves as Program Coord<strong>in</strong>ator for Student Affairs at The College of<br />
New Jersey, where she is also an adjunct professor.
Miho Shimohara<br />
Kagoshima University, 1-20-6<br />
Kirimoto, Kagoshima-shi, 8300065,<br />
Japan<br />
Keywords Japanese art history,<br />
media, workshops, social<br />
constructivism, situated learn<strong>in</strong>g<br />
Ryan Sh<strong>in</strong><br />
The University of Arizona, Assistant<br />
Professor of Art Education, School of<br />
Art, P. O. Box 210002, Tucson, AZ<br />
85721-0002, United States of<br />
America<br />
Keywords cloth<strong>in</strong>g, food, Korean<br />
Ancestor Worship service, Native<br />
American Sweat Lodge, <strong>in</strong>tercultural<br />
learn<strong>in</strong>g<br />
Alison Shreeve<br />
Buck<strong>in</strong>ghamshire New University,<br />
High Wycombe Campus, Queen<br />
Alexandra Road, High Wycombe,<br />
Buck<strong>in</strong>ghamshire, HP11 2JZ, United<br />
K<strong>in</strong>gdom<br />
Keywords qualitative variation,<br />
<strong>research</strong>, design projects, visual<br />
reproduc<strong>in</strong>g, conceptual responses,<br />
Communities of Practice<br />
› Teach<strong>in</strong>g Che: a picture is worth a thousand words (or t-shirts), Visual<br />
Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 53-57.<br />
Miho Shimohara is Associate Professor <strong>in</strong> the Fcaulty of Education at<br />
Kagoshima University, Japan. She received her MA from Kwansei<br />
Gaku<strong>in</strong> University. Her ma<strong>in</strong> <strong>research</strong> theme <strong>in</strong> Japanese art history<br />
especially pre-modern Yamato-e pa<strong>in</strong>t<strong>in</strong>gs, and she <strong>research</strong>ed this at<br />
the British Museum between September 2001 and January 2002. Her<br />
recent <strong>research</strong> also <strong>in</strong>cludes the study of workshops us<strong>in</strong>g Japanese art<br />
for cross-cultural understand<strong>in</strong>g.<br />
› The Narikiri Emaki (picture scroll) project, International Journal of<br />
Education through Art, 4.1, 7-27.<br />
Ryan Sh<strong>in</strong> is an assistant professor <strong>in</strong> the School of Art at the<br />
University of Arizona. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude issues of the<br />
representation and appropriation of Asian images and objects <strong>in</strong> the<br />
popular media and visual culture, critical discourse on m<strong>in</strong>ority visual<br />
culture, and Asian cultural performances and folk traditions.<br />
› An <strong>in</strong>tercultural learn<strong>in</strong>g of similarities and differences of rituals and<br />
customs of two cultures, International Journal of Education through Art, 6.3,<br />
361-380.<br />
Alison Shreeve is the Director of the HEFCE funded Creative Learn<strong>in</strong>g<br />
<strong>in</strong> Practice Centre for Excellence <strong>in</strong> Teach<strong>in</strong>g and Learn<strong>in</strong>g (CLIP<br />
CETL) at the University of the <strong>Arts</strong> London. The centre’s role is to<br />
enhance and dissem<strong>in</strong>ate successful student learn<strong>in</strong>g activities and to<br />
reward excellence <strong>in</strong> teach<strong>in</strong>g. The centre’s activities<strong>in</strong>clude<br />
develop<strong>in</strong>g pedagogic <strong>research</strong> <strong>in</strong> the university and <strong>in</strong>vestigat<strong>in</strong>g what<br />
is specific to learn<strong>in</strong>g <strong>in</strong> the discipl<strong>in</strong>es of art and design. Staff<br />
development is used to share and dissem<strong>in</strong>ate learn<strong>in</strong>g from all the<br />
centre’s activities. Alison has over twenty years experience <strong>in</strong> teach<strong>in</strong>g<br />
textiles and a Masters <strong>in</strong> Art Education. She is <strong>in</strong>terested <strong>in</strong> <strong>research</strong><br />
<strong>in</strong>to aspects of learn<strong>in</strong>g with<strong>in</strong> our discipl<strong>in</strong>es and this <strong>in</strong>cludes students<br />
and tutor’s conceptions of assessment. Alison iscurrently complet<strong>in</strong>g
Kaye Shumack<br />
University of Western Sydney<br />
Keywords photography, visual<br />
design, media, visual grammars,<br />
social creativity<br />
Elizabeth Sikiaridi<br />
Keywords communication, global<br />
Xenakis, music, architecture, media<br />
art<br />
the doctoral programme <strong>in</strong> educational <strong>research</strong> at Lancaster University<br />
and the focus of her <strong>research</strong> is on the practitioner tutor’s experience of<br />
practice and teach<strong>in</strong>g.<br />
› Students’ approaches to the ‘<strong>research</strong>’ component <strong>in</strong> the fashion design<br />
project: Variation <strong>in</strong> students’ experience of the <strong>research</strong> process, Art, Design<br />
& Communication <strong>in</strong> Higher Education, 2.3, 113-130.<br />
› Learn<strong>in</strong>g development and study support – an embedded approach through<br />
communities of practice, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 6.1, 11-26.<br />
› Editorial for ADCHE special issue, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 6.3, 139-144.<br />
› Editorial, Art, Design & Communication <strong>in</strong> Higher Education, 9.2, 107-110.<br />
Associate Professor Kaye Shumack has a background <strong>in</strong> photography,<br />
visual design and media. Her <strong>research</strong> is largely practice-led, explor<strong>in</strong>g<br />
visual grammars and forms of new media representations, and the<br />
spaces between fiction, documentary, and the social that are be<strong>in</strong>g<br />
created through 'transmedia' digital platforms. Her <strong>research</strong> <strong>in</strong>cludes an<br />
<strong>in</strong>terest <strong>in</strong> processes of social creativity that are part of everyday liv<strong>in</strong>g,<br />
and how these might be harnessed by designers for <strong>in</strong>novation and new<br />
th<strong>in</strong>k<strong>in</strong>g us<strong>in</strong>g context mapp<strong>in</strong>g for social enablement. Her <strong>research</strong><br />
also engages with explor<strong>in</strong>g visualisations of the heuristic and<br />
pragmatic processes that occur with<strong>in</strong> design decision-mak<strong>in</strong>g. Her<br />
Ph.D. is titled 'Design and the Conversational Self'; this work uses an<br />
auto-ethnographic methodology to explore the dynamic shifts that<br />
happen <strong>in</strong> design processes across the spectrum of public/private and<br />
<strong>in</strong>dividual/collective.<br />
› Learn<strong>in</strong>g as experience: a model for teach<strong>in</strong>g the ‘reflective exegesis’ for<br />
communication design practice, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 7.2, 59-72.<br />
Elizabeth Sikiaridi is Founder of Hybrid Space Lab<br />
(Amsterdam/Berl<strong>in</strong>), a r&d and design practice focus<strong>in</strong>g on the hybrid<br />
fields that are emerg<strong>in</strong>g through the comb<strong>in</strong>ation and fusion of<br />
environments, objects and services <strong>in</strong> the <strong>in</strong>formation/communication<br />
age. Elizabeth is professor at the University of Duisburg-Essen,<br />
work<strong>in</strong>g on the design and development of the cityscape and consultant<br />
to the Dutch government on 'the use of space <strong>in</strong> the<br />
<strong>in</strong>formation/communication age'. She studied architecture and
Cheryl Sim<br />
United K<strong>in</strong>gdom<br />
Keywords visual art, pedagogical<br />
reason<strong>in</strong>g, cooperative learn<strong>in</strong>g,<br />
creativity, knowledge-<strong>in</strong>-action<br />
David Simmons<br />
The University of Northampton,<br />
School of English, Media and<br />
Culture, Northampton University,<br />
Avenue Campus, St George’s<br />
Avenue, Northamptonshire, NN2<br />
6JD, United K<strong>in</strong>gdom<br />
Keywords American literature,<br />
contemporary novel<br />
urbanism at the École d'Architecture de Belleville <strong>in</strong> Paris and at the<br />
Technical University of Darmstadt. She has worked at the architectural<br />
office Behnisch & Partner <strong>in</strong> Stuttgart and the Technical University of<br />
Berl<strong>in</strong>.<br />
› IDENSITY(r): urbanism <strong>in</strong> the communication age, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 1.1, 69-76.<br />
› The Architectures of Iannis Xenakis, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 1.3, 201-208.<br />
Cheryl Sim is Senior Lecturer <strong>in</strong> the Faculty of Education, Griffith<br />
University <strong>in</strong> Brisbane, Queensland, Australia. She has 25 years of<br />
experience <strong>in</strong> secondary and tertiary teacher education. She completed<br />
undergraduate and postgraduate studies <strong>in</strong> History. Her Ph.D. (1999)<br />
<strong>in</strong>vestigated the development of pedagogical content knowledge of preservice<br />
history teachers. In the last decade, her <strong>research</strong> has focused on<br />
the knowledge base of teachers, <strong>in</strong> particular the role of communities of<br />
practice and pre-service teacher preparation, and the chang<strong>in</strong>g nature of<br />
the teach<strong>in</strong>g workforce.<br />
› Pedagogical reason<strong>in</strong>g, creativity and cooperative learn<strong>in</strong>g <strong>in</strong> the visual art<br />
classroom, International Journal of Education through Art, 5.1, 51-61.<br />
David Simmons is currently employed as a lecturer <strong>in</strong> American<br />
Literature, Film and Television Studies at the University of<br />
Northampton. He has published extensively <strong>in</strong> the areas of American<br />
Literature and Media, <strong>in</strong>clud<strong>in</strong>g a monograph entitled The Anti-Hero <strong>in</strong><br />
the American Novel: From Heller to Vonnegut (Palgrave, 2008) and an<br />
edited collection, New Critical Essays on Kurt Vonnegut (Palgrave,<br />
2009). David also co-edited (with Nicola Allen) a collection of essays<br />
that are concerned with re-evaluat<strong>in</strong>g the contemporary novel entitled<br />
Reassess<strong>in</strong>g the Contemporary Canon: From Joseph Conrad to Zadie<br />
Smith.<br />
› ‘Noth<strong>in</strong>g too heavy or too light’: Negotiat<strong>in</strong>g Moore’s Tom Strong and the<br />
academic establishment, Studies <strong>in</strong> Comics, 2.1, 57-67.
Marc S<strong>in</strong>ger<br />
Howard University, Department of<br />
English, Wash<strong>in</strong>gton, DC, 20059,<br />
United States of America<br />
Keywords contemporary literature,<br />
comics, popular culture<br />
Abhigyan S<strong>in</strong>gh<br />
Dhirubhai Ambani Institute of<br />
Information and Communication<br />
Technology, Hasdeo Vihar Colony,<br />
Champa-Jangir, Jangir, Chattisgarh,<br />
495668, India<br />
Keywords design <strong>research</strong>, new<br />
media design, ICT<br />
Benedict S<strong>in</strong>gleton<br />
University of Northumbria<br />
Keywords<br />
Marc S<strong>in</strong>ger is Assistant Professor of English at Howard University <strong>in</strong><br />
Wash<strong>in</strong>gton, DC. His articles on contemporary literature, comics, and<br />
popular culture have appeared <strong>in</strong> Post Script, Critique: Studies <strong>in</strong><br />
Contemporary Fiction, Journal of Narrative Theory, Twentieth-<br />
Century Literature, African American Review, and the International<br />
Journal of Comic Art. He is the co-editor, with Nels Pearson, of<br />
Detective Fiction <strong>in</strong> a Postcolonial and Transnational World and the<br />
author of Grant Morrison: Comb<strong>in</strong><strong>in</strong>g the Worlds of Contemporary<br />
Comics, forthcom<strong>in</strong>g from the University Press of Mississippi.<br />
› Dark Genesis: Falls from language and returns to Eden from ‘Pog’ to<br />
Promethea, Studies <strong>in</strong> Comics, 2.1, 93-104.<br />
Abhigyan S<strong>in</strong>gh is a design <strong>research</strong>er. He holds a Master of <strong>Arts</strong> <strong>in</strong><br />
New Media Design from Aalto Unviersity School of Art and Design<br />
(previously known as the University of Art and Design Hels<strong>in</strong>ki),<br />
F<strong>in</strong>land, and a Bachelor of Technology <strong>in</strong> Information and<br />
Communiction Technology, India. He explores the social aspects of<br />
ICT use and translates his <strong>research</strong> f<strong>in</strong>d<strong>in</strong>gs <strong>in</strong>to design concepts.<br />
› Visual artefacts as boundary objects <strong>in</strong> participatory <strong>research</strong> paradigm,<br />
Journal of Visual Art Practice, 10.1, 35-50.<br />
Benedict S<strong>in</strong>gleton is a designer and writer <strong>who</strong> lives and works <strong>in</strong><br />
London. He divides his time between <strong>in</strong>dependent design strategy<br />
consultancy (for a range of organizations from small biotech start-ups<br />
to mult<strong>in</strong>ational corporations) and more experimental design work. He<br />
is currently work<strong>in</strong>g on a Ph.D. <strong>in</strong> Design at Northumbria University<br />
with the work<strong>in</strong>g title 'Subtle empires', which draws on architecture,<br />
philosophy and the history of technology to trace a history of<br />
suspicions about artisans, and what they tell us about the relationship<br />
between people and artefacts.<br />
› Subtle empires: On craft and be<strong>in</strong>g crafty, Design Ecologies, 1.2, 249-264.<br />
Susan S<strong>in</strong>k<strong>in</strong>son Susan S<strong>in</strong>k<strong>in</strong>son is currently a Ph.D. student at the University of<br />
British Columbia, specializ<strong>in</strong>g <strong>in</strong> Art Education. Before this, she
Keywords visual culture,<br />
spectatorship, art education,<br />
fem<strong>in</strong>ism, queer theory<br />
Anita S<strong>in</strong>ner<br />
Concordia University, Art Education,<br />
1455 De Maisonneuve Blvd., West,<br />
EV 2.821, Montreal, Quebec, H3G<br />
1M8, Canada<br />
Keywords ecotones, triptychs, arts<br />
<strong>research</strong><br />
Diana Reed Slattery<br />
Xenol<strong>in</strong>guistics, 260 Bungalow Ave.,<br />
San Rafael, California, 94901, United<br />
States of America<br />
Keywords halluc<strong>in</strong>ation,<br />
psychedelics, reality, extended<br />
perception, immersion<br />
Ruslan Slutsky<br />
University of Toledo, Department of<br />
Early Childhood, Physical and<br />
Special Education, Gillham Hall<br />
Room 4500L, Toledo, OH. 43606,<br />
United States of America<br />
completed an MA degree <strong>in</strong> Art Education and BFA degree <strong>in</strong> Film<br />
Production at Concordia University. She has made and screened<br />
several experimental films and videos. Her <strong>research</strong> <strong>in</strong>to Tr<strong>in</strong>h T M<strong>in</strong>hha’s<br />
work for her masters degree have <strong>in</strong>spired her to construct a praxis<br />
based <strong>in</strong> multicultural film and video art, fem<strong>in</strong>ism, and the<br />
autobiographical voice. She values work<strong>in</strong>g with <strong>in</strong>ternational students,<br />
such as Belidson Dias, because of the opportunities this creates for<br />
<strong>in</strong>tercultural dialogue through art.<br />
› Film spectatorship between queer theory and fem<strong>in</strong>ism: transcultural<br />
read<strong>in</strong>gs, International Journal of Education through Art, 1.2, 143-152.<br />
Anita S<strong>in</strong>ner is an Assistant Professor of Art Education at Concordia<br />
University, Montreal, Canada. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude preservice<br />
and <strong>in</strong>-service teacher education, community-based art<br />
education, arts-based methods, rela-tional aesthetics, life writ<strong>in</strong>g and<br />
digital media.<br />
› <strong>Arts</strong> <strong>research</strong> as a triptych <strong>in</strong>stallation: A framework for <strong>in</strong>terpret<strong>in</strong>g and<br />
render<strong>in</strong>g enquiry, International Journal of Education through Art, 6.2, 127-<br />
144.<br />
Diana Reed Slattery is the director of DomeWorks, an artscollaborative<br />
br<strong>in</strong>g<strong>in</strong>g sounds and sights <strong>in</strong> live performance to domed environments.<br />
She is the author of the novel The Maze Game and is engaged <strong>in</strong> Ph.D.<br />
<strong>research</strong> on l<strong>in</strong>guistic phenomena <strong>in</strong> the psychedelic sphere with the<br />
Planetary Collegium.<br />
› VR and halluc<strong>in</strong>ation: a technoetic perspective, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 6.1, 3-18.<br />
Ruslan Slutsky is Associate Professor of Early Childhood Education at<br />
the University of Toledo. Dr. Slutsky teaches courses <strong>in</strong> early<br />
childhood education, language development, and children’s play. His<br />
<strong>research</strong> is qualitative <strong>in</strong> nature with current <strong>in</strong>terests focus<strong>in</strong>g on the<br />
impact of learn<strong>in</strong>g communities on student learn<strong>in</strong>g, the Reggio Emilia<br />
approach, Head Start and children’s play, particularly <strong>in</strong> the area of war
Keywords early childhood education,<br />
language development, children’s play<br />
Cathy Smilan<br />
Keywords <strong>in</strong>tegration, expeditionary<br />
learn<strong>in</strong>g, environment, susta<strong>in</strong>ability<br />
Jill Smith<br />
University of Auckland, Faculty of<br />
Education, Gate 3, 74 Epsom Avenue,<br />
Auckland, 1150, New Zealand<br />
Keywords art education,<br />
a/r/tography, <strong>research</strong>, New Zealand<br />
and superhero play.<br />
› Judg<strong>in</strong>g a book by its cover: Preschool children’s aesthetic preferences for<br />
picture books, International Journal of Education through Art, 7.2, 171-185.<br />
Cathy Smilan is Assistant Professor of Art Education at the University<br />
of Massachusetts Dartmouth and Director of the Master of Art<br />
Education Program. Recent publications <strong>in</strong>clude articles <strong>in</strong> Art<br />
Education, Childhood Education, and the International Journal of<br />
Social Sciences. She has delivered numerous papers and presentations<br />
at <strong>in</strong>ternational, national and state conferences. Research <strong>in</strong>terests<br />
<strong>in</strong>clude art <strong>in</strong>tegration throughout the curriculum, museum and<br />
community partnership <strong>in</strong> art education, art education and<br />
susta<strong>in</strong>ability, and teacher education and preparation.<br />
› Lessons learned from the landscape: an <strong>in</strong>tegrated approach, International<br />
Journal of Education through Art, 5.2&3, 169-185.<br />
Jill Smith is Pr<strong>in</strong>cipal Lecturer <strong>in</strong> the School of <strong>Arts</strong>, Languages and<br />
Literacies at the Faculty of Education, University of Auckland, New<br />
Zealand. A Pakeha (European) New Zealander, her teach<strong>in</strong>g and<br />
<strong>research</strong> <strong>in</strong>terests focus upon the connections between art, culture,<br />
curriculum and education policy. In particular, she is <strong>in</strong>terested <strong>in</strong> the<br />
relationship between bicultural (Maori/European) policy and visual arts<br />
practice, issues of culture, diversity and difference <strong>in</strong> pedagogical<br />
practices, and the A/R/T connection between art practice, <strong>research</strong> and<br />
teach<strong>in</strong>g Although New Zealand is becom<strong>in</strong>g an <strong>in</strong>creas<strong>in</strong>gly<br />
multicultural nation it has a strong commitment to biculturalism. Jill's<br />
most recent <strong>research</strong> is on how and whether visual arts teachers take<br />
<strong>in</strong>to account the ethnic diversity and cultural differences of students.<br />
Her current <strong>research</strong> focuses on Asian students' perspectives on visual<br />
arts education <strong>in</strong> New Zealand secondary schools and tertiary<br />
art/design <strong>in</strong>stitutions.<br />
› The A/R/T connection: l<strong>in</strong>k<strong>in</strong>g art practice, <strong>research</strong> and teach<strong>in</strong>g,<br />
International Journal of Education through Art, 5.2&3, 265-281.
Chris Smith<br />
London Metropolitan Univ., John<br />
Cass Dept - Art, Media & Design, 69-<br />
73 Whitechapel High Street, London,<br />
E1 1PF, United K<strong>in</strong>gdom<br />
Keywords def<strong>in</strong>ition, naturalized<br />
epistemology, artwork, art practice,<br />
documentation, practice<br />
Matt Smith<br />
Liverpool Institute for Perform<strong>in</strong>g<br />
<strong>Arts</strong>, Community Drama programme,<br />
Mount Street, Liverpool, L1 9HF,<br />
United K<strong>in</strong>gdom<br />
Keywords puppetry, participation,<br />
environment<br />
Pia Smith<br />
Keywords community art, music,<br />
dance<br />
Chris Smith is Convenor of the Visual <strong>Arts</strong> Practice Research Group<br />
and editor of the Journal of Visual Art Practice. His <strong>research</strong> <strong>in</strong>terests<br />
lie <strong>in</strong> the field of art anddesign philosophy, particularly the connection<br />
between theory and practice, and a concern with praxis <strong>in</strong> art and<br />
design. He collaborates with others from the Visual<strong>Arts</strong> Practice<br />
Research Group <strong>in</strong> projects related to the relationship of imag<strong>in</strong>ation<br />
and image, and with Art & Language on the question of ‘What work<br />
does the artwork do?’ This has led to various national and <strong>in</strong>ternational<br />
symposia and exhibitions. Chris supervises a range of doctoral students<br />
drawn from art and design as well as the crafts. He has run a number of<br />
workshops <strong>in</strong> collaboration with the Centre for Learn<strong>in</strong>g and Teach<strong>in</strong>g<br />
<strong>in</strong> Art and Design, University of the <strong>Arts</strong>, London, on supervision of<br />
Masters and Doctoral students.<br />
› Editorial, Journal of Visual Art Practice, 6.1, 3-4.<br />
› Special Edition Editorial: What work does the artwork do? A question for art,<br />
Journal of Visual Art Practice, 6.1, 5-12.<br />
› Special Edition Editorial: The Problem of Document<strong>in</strong>g F<strong>in</strong>e Art Practices<br />
and Processes, Journal of Visual Art Practice, 6.3, 167-174.<br />
› Editorial, Journal of Visual Art Practice, 7.2, 103-105.<br />
› Writ<strong>in</strong>g on Practice, Journal of Visual Art Practice, 8.1&2, 3-5.<br />
Matt currently leads the undergraduate Community Drama programme<br />
at the Liverpool Institute for Perform<strong>in</strong>g <strong>Arts</strong>. Matt is also the artistic<br />
director for PickleHerr<strong>in</strong>g Theatre Company. Matt has been a freelance<br />
artist for sixteen years, work<strong>in</strong>g <strong>in</strong> diverse sett<strong>in</strong>gs such as schools,<br />
prisons, hospitals, environmental agencies and work<strong>in</strong>g with the<br />
homeless. Matt’s work is always eclectic, work<strong>in</strong>g across discipl<strong>in</strong>es<br />
such as drama, puppetry, masks, and music. Matt completed his MA <strong>in</strong><br />
Contemporary <strong>Arts</strong> at Manchester Metropolitan University.<br />
› Puppetry as Community <strong>Arts</strong> Practice, Journal of <strong>Arts</strong> & Communities, 1.1,<br />
69-78.<br />
Pia Smith worked <strong>in</strong> the Globalism Research Centre at RMIT<br />
University, Melbourne, on three projects related to the social benefits<br />
of community art. These <strong>in</strong>cluded one project for the Victorian health<br />
promotion agency VicHealth, one for Regional <strong>Arts</strong> Victoria and a<br />
project for Australia Councilfor the <strong>Arts</strong>. She has a background <strong>in</strong><br />
music and dance and has worked as a freelance writer and editor.
Jimmy Smith<br />
Independent Scholar<br />
Keywords<br />
Deborah L Smith-Shank<br />
The Ohio State University,<br />
Department of Art Education, 1288 S.<br />
4th Street, Columbus, OH, 43206,<br />
United States of America<br />
Keywords art education, material<br />
culture<br />
Ismail Özgür Soğancı<br />
Anadolu University, Yunusemre<br />
Kampusü, Eskisehir, 26470, Turkey<br />
Keywords art education, cultural<br />
exchange programmes, Erasmus<br />
› Art, governance and the turn to community: Lessons from a national action<br />
<strong>research</strong> project on community art and local government <strong>in</strong> Australia,<br />
Journal of <strong>Arts</strong> & Communities, 2.1, 27-40.<br />
Jimmy Smith studied Illustration at the Cambridge School of Art, and<br />
is a graphic artist, writer and collector/scholar of comics and graphic<br />
novels. Jimmy is currently <strong>research</strong><strong>in</strong>g a number of projects, <strong>in</strong>clud<strong>in</strong>g<br />
articles on obscure n<strong>in</strong>eteenth century cartoonists and the Japanese<br />
horror comics of Suehiro Maruo and Hideshi H<strong>in</strong>o. He is also writ<strong>in</strong>g<br />
and design<strong>in</strong>g his own graphic stories explor<strong>in</strong>g folklore, historical<br />
events, fairy tales and the supernatural.<br />
› Beyond Maus: The experimental comics of Art Spiegelman, Book 2.0, 1.1,<br />
47-56.<br />
Deborah Smith-Shank is Professor of Art Education at The Ohio State<br />
University; Chair of Undergraduate Studies and Licensure. Her<br />
<strong>research</strong> focuses on material culture exam<strong>in</strong>ed through semiotic and<br />
fem<strong>in</strong>ist lenses. She is VicePresident of the International Society for<br />
Education Through Art (http://www. <strong>in</strong>sea.org/), and co-editor of<br />
Visual Culture & Gender, an <strong>in</strong>ternational, multimedia, juried journal<br />
(http://www.emitto.net/visualculturegender).<br />
› The city as a site for <strong>in</strong>terdiscipl<strong>in</strong>ary teach<strong>in</strong>g and learn<strong>in</strong>g, International<br />
Journal of Education through Art, 7.1, 27-40.<br />
Ismail Özgür Soğancı was born <strong>in</strong> Turkey <strong>in</strong> 1974. After graduat<strong>in</strong>g<br />
from the Department of Art Education at Gazi University, he worked as<br />
an art teacher <strong>in</strong> different levels of the Turkish school<strong>in</strong>g system for<br />
two years until he wasawarded the International Graduate Scholarship<br />
by the Turkish M<strong>in</strong>istry of Education <strong>in</strong> 1999. In the frame of this<br />
scholarship, Soğancı completed his Masters and Doctorate at Arizona<br />
State University <strong>in</strong> the field of Art Education. In 2005, he started<br />
teach<strong>in</strong>g at Anadolu University <strong>in</strong> Turkey asan assistant professor.<br />
Currently serv<strong>in</strong>g <strong>in</strong> the InSEA World Council as a representative of<br />
the Middle East Region, he is actively <strong>in</strong>volved <strong>in</strong> cultural exchange<br />
programmes such as Erasmus as coord<strong>in</strong>ator. His recent <strong>research</strong>
Patricia Soley-Beltran<br />
University of Ed<strong>in</strong>burgh, Sociology<br />
Department, University of Ed<strong>in</strong>burgh<br />
Keywords<br />
Michael R. Solomon<br />
Sa<strong>in</strong>t Joseph's University, Department<br />
of Market<strong>in</strong>g, Haub School of<br />
Bus<strong>in</strong>ess, 5600 City Avenue,<br />
Philadelphia, PA 19131, United States<br />
of America<br />
Keywords impression management,<br />
avatars, virtual worlds, body image,<br />
self-concept<br />
Ian Solomonides<br />
Macquarie University, Institute of<br />
Higher Education Research and<br />
concentrates on l<strong>in</strong>ks between teach<strong>in</strong>g and various modes of visuality,<br />
along with the historical and cultural constructs that have shaped them.<br />
› Mom, why isn’t there a picture of our prophet?, International Journal of<br />
Education through Art, 1.1, 21-28.<br />
› The city as a site for <strong>in</strong>terdiscipl<strong>in</strong>ary teach<strong>in</strong>g and learn<strong>in</strong>g, International<br />
Journal of Education through Art, 7.1, 27-40.<br />
Patrícia Soley-Beltran is an Honorary Fellow at the Sociology<br />
Department, University of Ed<strong>in</strong>burgh, a found<strong>in</strong>g member of the<br />
International Society for Cultural History and a member of the<br />
Work<strong>in</strong>g Group on the Anthropology of, the Body (Catalan Institute of<br />
Anthropology). She regularly publishes <strong>in</strong> academic, and cultural<br />
journals; her first book is Transexualidad y la Matriz Heterosexual: Un<br />
estudio crítico de Judith Butler (Edicions Bellaterra, Barcelona: 2009).<br />
She worked as an advertis<strong>in</strong>g and fashion model, and actress for ten<br />
years.<br />
› Aesthetic (dis)orders: Styl<strong>in</strong>g pr<strong>in</strong>ciples <strong>in</strong> fashion modell<strong>in</strong>g, Critical<br />
Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 185-205.<br />
Professor Solomon’s primary <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude consumer<br />
behaviour and lifestyle issues, brand<strong>in</strong>g strategy, the symbolic aspects<br />
of products, the psychology of fashion, market<strong>in</strong>g applications of<br />
virtual worlds and the development of visually-oriented onl<strong>in</strong>e <strong>research</strong><br />
methodologies. His textbook, Consumer Behavior: Buy<strong>in</strong>g, Hav<strong>in</strong>g,<br />
and Be<strong>in</strong>g, published by Prentice Hall, is widely used <strong>in</strong> universities<br />
throughout North America, Europe, and Australasia and is now <strong>in</strong> its<br />
n<strong>in</strong>th edition.<br />
› Digital identity management: Old w<strong>in</strong>e <strong>in</strong> new bottles, Critical Studies <strong>in</strong><br />
Fashion & Beauty, 1.2, 173-180.<br />
Associate Professor Ian Solomonides was formerly Programme Leader<br />
for Furniture and Product Design and Learn<strong>in</strong>g and Teach<strong>in</strong>g<br />
Coord<strong>in</strong>ator <strong>in</strong> the School of Architecture, Design and Built<br />
Environment at Nott<strong>in</strong>gham Trent University, United K<strong>in</strong>gdom. He is
Development, Sydney, New South<br />
Wales, 2019<br />
Keywords engagement, creativity,<br />
identity, learn<strong>in</strong>g<br />
John Somers<br />
University of Exeter, Department of<br />
Drama, Honorary Fellow, School of<br />
<strong>Arts</strong> Languages and Literatures,,<br />
Thornlea, New North Road, Exeter,<br />
Devon, EX4 4LA, United K<strong>in</strong>gdom<br />
Keywords theatre, community<br />
theatre, drama<br />
John Sorenson<br />
Brock University, Department<br />
of Sociology at Brock University,<br />
Chair, Department of Sociology,<br />
Brock University, St. Cathar<strong>in</strong>es, ON,<br />
L2S 3A1, Canada<br />
Keywords<br />
Adriana de Souza e Silva<br />
IT University of Copenhagen, Design,<br />
Culture and Mobile Communication,<br />
Denmark<br />
now Director of the Lear<strong>in</strong>g and Teach<strong>in</strong>g Centre at Macquarie<br />
University, Sydney. His <strong>research</strong> has ranged from student approaches<br />
to study <strong>in</strong> eng<strong>in</strong>eer<strong>in</strong>g to curriculum design and the quality of student<br />
learn<strong>in</strong>g <strong>in</strong> Art and Design. He is currently <strong>in</strong>terested <strong>in</strong> the nature of<br />
student engagement as understood by students and staff.<br />
› Design students' experience of engagement and creativity, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 6.1, 27-40.<br />
John Somers works extensively <strong>in</strong> Brita<strong>in</strong> and <strong>in</strong>ternationally and is the<br />
2003 recipient of the American Alliance of Theatre and Education<br />
Special Recognition Award. He founded and directed the Exeter<br />
University MA Applied Drama, and was founder/Artistic Director of<br />
Exstream Theatre Company. He makes <strong>in</strong>teractive theatre (his<br />
production On the Edge won major national awards) and community<br />
theatre <strong>in</strong> non-theatre spaces.<br />
› Theatre as communal work, Journal of <strong>Arts</strong> & Communities, 1.3, 247-264.<br />
Professor John Sorenson is currently the Chair of the Department<br />
of Sociology at Brock University, where he teaches <strong>in</strong> the area<br />
of Critical Animal Studies, as well as <strong>in</strong> anti-racism and globalization.<br />
His books <strong>in</strong>clude Animal Rights (Halifax: Fernwood, 2010), Ape<br />
(London: Reaktion, 2010), Imag<strong>in</strong>g Ethiopia (New Brunswick: Rutgers<br />
University Press, 1998), Ghosts and Shadows (Toronto: University of<br />
Toronto Press, 2001), Culture of Prejudice (Peterorough: Broadview,<br />
2003), Disaster and Development <strong>in</strong> the Horn of Africa (Houndmills:<br />
Macmillan, 1995) and African Refugees (Boulder: Westview, 1994).<br />
› Ethical fashion and the exploitation of nonhuman animals, Critical Studies <strong>in</strong><br />
Fashion & Beauty, 2.1-2, 139-164.<br />
Adriana de Souza e Silva is an Associate Professor at the IT University<br />
of Copenhagen (ITU) <strong>in</strong> the Digital Culture and Mobile<br />
Communication group and a member of the Center for Network<br />
Culture at ITU. She is also an Assistant Professor at the Department of<br />
Communication at North Carol<strong>in</strong>a State University (NCSU), affiliated
Keywords hybrid spaces, mobile<br />
<strong>in</strong>terfaces, location-aware<br />
technologies, mobile phones<br />
Silvia Sovic<br />
Keywords stress, <strong>in</strong>ternational<br />
students, creative arts<br />
Chris Speed<br />
Ed<strong>in</strong>burgh College of Art,<br />
Architecture, Lauriston Place,<br />
Architecture School, Ed<strong>in</strong>burgh,<br />
PL48AA, United K<strong>in</strong>gdom<br />
Keywords Web 2.0, social<br />
navigation, blogs, Ra<strong>in</strong>dance, tag<br />
clouds<br />
faculty at the Digital Games Research Center, and a faculty member of<br />
the Communication, Rhetoric and Digital Media (CRDM) program at<br />
NCSU. Dr. de Souza e Silva's <strong>research</strong> focuses on how mobile and<br />
locative <strong>in</strong>terfaces shape people's <strong>in</strong>teractions with public spaces and<br />
create new forms of sociability. She teaches classes on mobile<br />
technologies, location-based games and Internet studies. Dr. de Souza e<br />
Silva is the co-editor of the book Digital Cityscapes—Merg<strong>in</strong>g digital<br />
and urban playspaces (Peter Lang, 2009), and the co-author of the<br />
forthcom<strong>in</strong>g book Net-Locality: Why location matters (Blackwell,<br />
2011).<br />
› From simulations to hybrid space: how nomadic technologies change the<br />
real, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 1.3, 209-222.<br />
Dr. Silvia Sovic is Research Project Coord<strong>in</strong>ator at the Creative<br />
Learn<strong>in</strong>g <strong>in</strong> Practice Centre for Excellence <strong>in</strong> Teach<strong>in</strong>g and Learn<strong>in</strong>g at<br />
the University of the <strong>Arts</strong>, London. Her background is <strong>in</strong> history<br />
(degrees from Ljubljana, London and Essex). She has <strong>research</strong>ed <strong>in</strong><br />
Florence, Graz and Cambridge and is currently Senior Research Fellow<br />
at the Institute of Historical Research, where she also teaches statistics<br />
for historians.<br />
› Cop<strong>in</strong>g with stress: the perspective of <strong>in</strong>ternational students, Art, Design &<br />
Communication <strong>in</strong> Higher Education, 6.3, 145-158.<br />
Dr. Chris Speed is Reader <strong>in</strong> Digital Spaces across the Schools of<br />
Architecture and Landscape Architecture at the Ed<strong>in</strong>burgh College of<br />
Art, where he teaches undergraduate, masters and supervises Ph.D.<br />
students. Chris has susta<strong>in</strong>ed a critical enquiry <strong>in</strong>to how digital<br />
technology can engage with the field of architecture and human<br />
geography through a variety of established <strong>in</strong>ternational digital art<br />
contexts <strong>in</strong>clud<strong>in</strong>g: International Symposium on Electronic Art,<br />
Biennial of Electronic <strong>Arts</strong> Perth, Ars Electronica, Consciousness<br />
Reframed, Sonic Acts, LoveBytes, We Love Technology, Sonic <strong>Arts</strong><br />
Festival, MELT, Less Remote, FutureSonic, and the <strong>Arts</strong> Catalyst /<br />
Leonardo symposium held alongside The International Astronautical<br />
Congress. Chris is currently work<strong>in</strong>g with collaborative GPS<br />
technologies and the stream<strong>in</strong>g of social and environmental data.<br />
› Will Web 2.0 add ‘purpose’ to writ<strong>in</strong>g by artists and designers?, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 77-84.
Jeremy Spencer<br />
Keywords aesthetic thought, Marxist<br />
theories, critical theories, materialism,<br />
deconstruction<br />
Miriam Brown Spiers<br />
University of Georgia, Department at<br />
the University of Georgia, 254 Park<br />
Hall, Athens, GA 30602, United<br />
States of America<br />
Keywords graphic memoir, Fun<br />
Home, Alison Bechdel, queer<br />
relations/relationships<br />
Neil Spiller<br />
The Bartlett School of Architecture,<br />
Wates House, 22 Gordon Street,<br />
London, United K<strong>in</strong>gdom<br />
Keywords nanotechnology,<br />
pataphysics, slamhound, Valazquez<br />
Mach<strong>in</strong>e, surrealism, surreal<br />
Jeremy Spencer has completed a doctoral thesis on the methodological<br />
role of the literary theory of Paul de Man <strong>in</strong> materialist art histories at<br />
the University of Essex. He teaches contextual studies at the Colchester<br />
School of Art and Design, Colchester Institute and is an Associate<br />
Lecturer with the Open University.<br />
› The bodies and the embodiment of modernist pa<strong>in</strong>t<strong>in</strong>g, Journal of Visual Art<br />
Practice, 5.3, 229-.<br />
Miriam Brown Spiers is a doctoral student <strong>in</strong> the English Department<br />
at the University of Georgia, where she studies contemporary<br />
American literature, gender studies and Native American literature. She<br />
has presented conference papers on Alison Bechdel and also on the<br />
subject of her thesis, which deals with the roles of women <strong>in</strong> Max<strong>in</strong>e<br />
Hong K<strong>in</strong>gston’s Fifth Book of Peace. She spends most of her time<br />
grad<strong>in</strong>g papers and read<strong>in</strong>g <strong>in</strong> the excellent coffee shops of Athens.<br />
› Daddy's little girl: Multigenerational queer relationships <strong>in</strong> Bechdel's Fun<br />
Home, Studies <strong>in</strong> Comics, 1.2, 315-335.<br />
Neil Spiller is Professor of Architecture and Digital Theory and a<br />
practis<strong>in</strong>g architect. He is the MArch. Course Director, Director of the<br />
Advanced Virtual and Technological Architecture Research Group<br />
(AVATAR) and Vice Dean at the Bartlett School of Architecture,<br />
University College, London. He is author of the book Digital Dreams-<br />
Architecture and the New Alchemic Technologies (1998). He is coeditor<br />
of AD ‘Architects <strong>in</strong> Cyberspace’ (1995), guest-editor of AD<br />
‘Integrat<strong>in</strong>g Architecture’ (1996), AD’ Architects <strong>in</strong> Cyberspace II’<br />
(1998) and AD ‘Young Blood’ (2001) and formerly editor of Build<strong>in</strong>g<br />
Design Interactive’magaz<strong>in</strong>e. He is co-editor with Peter Cook of The<br />
Power of Contemporary Architecture (1999) and the Paradox of<br />
Contemporary Architecture (2001).<br />
› Communicat<strong>in</strong>g vessels: The 'pataphysical exceptions of reflexive<br />
architecture, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 1.3, 223-.<br />
› Surrealist complex systems, parallel biology and the green<strong>in</strong>g of architecture,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2, 75-78.<br />
› Plectic architecture: towards a theory of the post-digital <strong>in</strong> architecture,<br />
Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2, 95-104.
Michael Stanton<br />
Keywords<br />
Mike Starr<br />
University of Northampton, The<br />
School of the <strong>Arts</strong>, St George’s<br />
Avenue, Northampton,<br />
Northamptonshire, NN2 6JD, United<br />
K<strong>in</strong>gdom<br />
Keywords science fiction, poststructuralist<br />
philosophy, H.G. Wells<br />
John Steers<br />
Nat Soc for Education <strong>in</strong> Art &<br />
Design, NSEAD, 3 Mason's Wharf,<br />
Corsham, Wiltshire, SN13 9FY,<br />
United K<strong>in</strong>gdom<br />
Keywords visual culture education,<br />
art and design curriculum,<br />
globalization<br />
Michael Stanton was educated at Antioch College, Harvard and<br />
Pr<strong>in</strong>ceton. His design work has been awarded by the ACSA, the<br />
Architectural League of New York, the Biennial Steedman Prize and<br />
Progressive Architecture. He was a fellow at the American Academy <strong>in</strong><br />
Rome and the first Aga khan travell<strong>in</strong>g fellow. His publications <strong>in</strong>clude<br />
chapters <strong>in</strong> books, numerous articles <strong>in</strong> journals and a forthcom<strong>in</strong>g<br />
book on the American city <strong>in</strong> the context of paradox. Stanton has<br />
taught at several American universities and directed study-abroad<br />
programmes for many schools and <strong>in</strong>dependently. He was Associate<br />
Professor and Chair of the Department of Architecture and Design at<br />
the American University of Beirut and the Hawk<strong>in</strong>s Dist<strong>in</strong>guished<br />
Professor at the University of Texas Arl<strong>in</strong>gton. He is currently teach<strong>in</strong>g<br />
at the University of Maryland and the Metropolis Graduate Programme<br />
<strong>in</strong> Barcelona.<br />
› Book Reviews, International Journal of Islamic Architecture, 1.1, 151-168.<br />
Mike Starr is a postgraduate <strong>research</strong>er at the University of<br />
Northampton, specializ<strong>in</strong>g <strong>in</strong> science fiction and post-structuralist<br />
philosophy; his Ph.D. thesis explores the work of H.G. Wells <strong>in</strong> light of<br />
the theories of Gilles Deleuze. He has recently presented conference<br />
papers on mortality <strong>in</strong> Battlestar Galactica, and the assemblage of self<br />
<strong>in</strong> Joss Whedon’s Dollhouse. He also lectures <strong>in</strong> popular culture and<br />
cultural theory.<br />
› The Magus <strong>in</strong> Marks and Spencer, Studies <strong>in</strong> Comics, 2.1, 3-5.<br />
Dr. John Steers was appo<strong>in</strong>ted General Secretary of the National<br />
Society for Art Education (now the National Society for Education <strong>in</strong><br />
Art and Design) <strong>in</strong> 1981 after fourteen years teach<strong>in</strong>g art and design <strong>in</strong><br />
secondary schools <strong>in</strong> London and Bristol. He has been a member of the<br />
editorial board of the International Journal of Art and Design<br />
Education from its <strong>in</strong>ception <strong>in</strong> 1981.He was the 1993-96 President of<br />
the International Society for Education through Art and served on its<br />
executive committee <strong>in</strong> several capacities between 1983 and 2005. He<br />
has served also on many national committees and as a consultant to<br />
government agencies. He has published widely on curriculum,<br />
assessment and policy issues. He is a trustee of the Higher Education <strong>in</strong><br />
Art and Design Trust and a member of the Advisory Committee of the<br />
National <strong>Arts</strong> Education Archive, Bretton Hall.
Daniel T. Ste<strong>in</strong><br />
Keywords Lee Smith, The Devil's<br />
Dream, southern regionalism, country<br />
music history, denial of black<br />
presence<br />
Shepherd Ste<strong>in</strong>er<br />
Keywords photography, art history<br />
Tim Stephens<br />
London South Bank University,<br />
Faculty of Art Media & English, 103<br />
Borough Road, London, SE1 0AA,<br />
United K<strong>in</strong>gdom<br />
Keywords post-phenomenology,<br />
photography theory, time, nonrepresentational<br />
theory, formalist<br />
aesthetics<br />
› The ever-expand<strong>in</strong>g art curriculum – is it teachable or susta<strong>in</strong>able?,<br />
International Journal of Education through Art, 3.2, 141-154.<br />
Daniel T. Ste<strong>in</strong> holds a Master's degree <strong>in</strong> American Studies from<br />
Johannes-Gutenberg-Universität Ma<strong>in</strong>z, Germany. He has been<br />
teach<strong>in</strong>g <strong>in</strong> the English Department at the University of Michigan for<br />
the past two years.<br />
› Reviews, Studies <strong>in</strong> Comics, 1.2, 379-403.<br />
Shepherd Ste<strong>in</strong>er is an art historian and critic currently teach<strong>in</strong>g<br />
between Emily Carr University of Art and Design and the University of<br />
British Columbia. He co-edited Cork Caucus: On Art, Possibility, and<br />
Democracy (Frankfurt, 2007). Other publications on photography<br />
<strong>in</strong>clude ‘Allergy Patch: Michel Fried’s why photography matters as art<br />
as never before’ (Texte zur Kunst, 2010); ‘Read<strong>in</strong>g read<strong>in</strong>g <strong>in</strong><br />
Benjam<strong>in</strong>’s “Little history of photography”’ (In Tensions, 2008); and<br />
‘In other hands: Jeff Wall’s Beispiel’ (Oxford Art Journal, 2007).<br />
› Dialectical <strong>in</strong>roads to a post-political photography: Democratic violence <strong>in</strong><br />
the work of Lidwien van de Ven, Philosophy of Photography, 2.1, 57-81.<br />
Tim Stephens teaches Digital Photography, Art History and Critical<br />
Theory at London South Bank University. Recent papers <strong>in</strong>clude, ‘The<br />
Walk-as-Art Practice: the <strong>in</strong>fluence of Zen practice on Art’ (Royal<br />
Geographic Society, 2009) and ‘Sensory Illiteracy: sensory learn<strong>in</strong>g<br />
methodologies <strong>in</strong> Art’(Art and Ecology Conference, 2008).<br />
› What is rhythm <strong>in</strong> relation to photography?, Philosophy of Photography, 1.2,<br />
157-175.<br />
› Dosimetry, personal monitor<strong>in</strong>g film, Philosophy of Photography, 2.1, 153-<br />
158.
René Stettler<br />
New Gallery Lucerne and the Swiss<br />
Biennial on Science, Technics and<br />
Aesthetics, PO Box 3501, Postfach<br />
3501, 6002 Lucerne, Switzerland<br />
Keywords communication problems,<br />
implicit assumptions, conceptions of<br />
reality, extended science ontology,<br />
semiotics<br />
Mary Stewart<br />
Instituto Cervantes, c/o 3 Place<br />
Aubert, Candiac, PQ, J5R 5R2,<br />
Canada<br />
Keywords artful visual analysis,<br />
qualitative <strong>research</strong> methods, artbased<br />
<strong>research</strong>, phenomenology and<br />
design<br />
Don Stewart<br />
Griffith University, School of Public<br />
Health, Logan campus,<br />
Meadowbrook, QLD 4131, Australia<br />
Keywords choral s<strong>in</strong>g<strong>in</strong>g,<br />
psychological, well-be<strong>in</strong>g, cross-<br />
René Stettler is a cultural <strong>research</strong>er with many years of <strong>in</strong>ternational<br />
experience. He is the founder of the New Gallery Lucerne (1987) and<br />
the Swiss Biennial on Science, Technics and Aesthetics (1994). Both<br />
<strong>in</strong>stitutions are supported by the City of Lucerne and the<br />
Regionalkonferenz Kultur Region Luzern (RKK), the Swiss National<br />
Science Foundation, and private donors. Major topics such as Bra<strong>in</strong>–<br />
M<strong>in</strong>d–Culture (1995), Liquid Visions (1997), Frontier Communication:<br />
Human Be<strong>in</strong>gs, Apes, Whales, Electronic Networks (1999), The<br />
Enigma of Consciousness (2001), Consciousness and Teleportation<br />
(2005), and Consciousness and Quantumcomputers (2007) have been<br />
discussed a the Swiss Biennial by <strong>in</strong>ternationally acclaimed speakers<br />
such as the British mathematician Roger Penrose, the Austrian<br />
quantum physicist Anton Zeil<strong>in</strong>ger and the German chaos theorist Otto<br />
E. Rössler. Together with Otto E. Rösser Stettler co-authored<br />
Interventionen: Vertikale und horizontale Grenzüberschreitungen<br />
(1997).<br />
› M<strong>in</strong>d, matter, and quantum mechanics: towards a new conceptual theoretical<br />
framework, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 3.2, 125-.<br />
› Refram<strong>in</strong>g semiotic telematic knowledge spaces, and the anthropological<br />
challenge to design<strong>in</strong>g <strong>in</strong>terhuman relations, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 6.2, 163-170.<br />
Two of Mary Stewart’s <strong>in</strong>terests are qualitative <strong>research</strong> methodology<br />
and literacy education. She is passionate about explor<strong>in</strong>g alternative<br />
ways to analyse data, particularly through the use of arts-based and<br />
narrative methods. Her recent work has focused on poetry, collage and<br />
the role of collaboration <strong>in</strong> <strong>research</strong> groups. She is presently teach<strong>in</strong>g<br />
and <strong>research</strong><strong>in</strong>g literacy education <strong>in</strong> an urban high school.<br />
› Understand<strong>in</strong>g the value of artistic tools such as visual concept maps <strong>in</strong><br />
design and education <strong>research</strong>, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 3.3, 141-148.<br />
Donald Stewart is Professor of Health Promotion, School of Public<br />
Health, Griffith University, Brisbane, Australia. His <strong>research</strong> expertise<br />
lies with health promotion, mental health, health and age<strong>in</strong>g and public<br />
health services. He teaches on a wide range or subjects <strong>in</strong>clud<strong>in</strong>g:<br />
health promotion, health and age<strong>in</strong>g, health <strong>research</strong> methodology,<br />
music (s<strong>in</strong>g<strong>in</strong>g and dance), management culture and change and the<br />
prevention of HIV/AIDS us<strong>in</strong>g multi-strategy <strong>in</strong>terventions.
national survey, resilience<br />
Theodore Stickley<br />
University of Nott<strong>in</strong>gham, School of<br />
Nurs<strong>in</strong>g, Midwifery & Physiotherapy,<br />
Duncan Macmillan House, Porchester<br />
Road, Nott<strong>in</strong>gham, NG3 6AA, United<br />
K<strong>in</strong>gdom<br />
Keywords community art, medic<strong>in</strong>e,<br />
health sciences<br />
Blake Stimson<br />
University of California, One Shields<br />
Avenue, Davis, CA 95616, United<br />
States of America<br />
Keywords art history, critical theory,<br />
photography<br />
Mary Stokrocki<br />
Arizona State University, ASU<br />
Herberger Institute for Design and the<br />
<strong>Arts</strong>, PO Box 871505, Tempe, AZ<br />
85287-1505, United States of<br />
America<br />
Keywords fashion, disguise,<br />
semiotic, identity, <strong>in</strong>tergenerational<br />
difference<br />
› Choral s<strong>in</strong>g<strong>in</strong>g and psychological wellbe<strong>in</strong>g: Quantitative and qualitative<br />
f<strong>in</strong>d<strong>in</strong>gs from English choirs <strong>in</strong> a cross-national survey, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.1, 19-34.<br />
Theodore Stickley is Associate Professor <strong>in</strong> the Faculty of Medic<strong>in</strong>e<br />
and Health Sciences at the University of Nott<strong>in</strong>gham. He is also a<br />
Director of City <strong>Arts</strong>, Nott<strong>in</strong>gham.<br />
› Reviews, Journal of Applied <strong>Arts</strong> & Health, 1.3, 341-344.<br />
› A philosophy for community-based, participatory arts practice: A narrative<br />
<strong>in</strong>quiry, Journal of Applied <strong>Arts</strong> & Health, 2.1, 73-83.<br />
Blake Stimson teaches Art History and Critical Theory at the<br />
University of California, Davis. His <strong>research</strong> explores the social and<br />
political legacy of the eighteenth-century aesthetic ideal, particularly<br />
the role played by photography, art, and criticism <strong>in</strong> fram<strong>in</strong>g that ideal<br />
for the world we f<strong>in</strong>d ourselves <strong>in</strong> today. Recent publications <strong>in</strong>clude<br />
The Pivot of the World: Photography and Its Nation, The Mean<strong>in</strong>g of<br />
Photography (co-edited with Rob<strong>in</strong> Kelsey), Collectivism after<br />
Modernism: The Art of SocialImag<strong>in</strong>ation after 1945 (co-edited with<br />
Gregory Sholette), and Institutional Critique: An Anthology of Artists’<br />
Writ<strong>in</strong>gs (co-edited with Alexander Alberro).<br />
› Photography and ontology, Philosophy of Photography, 1.1, 41-47.<br />
Dr. Mary Stokrocki is Professor of Art and Area Head of Art<br />
Education, Arizona State University. She was former Vice-President<br />
and World Counselor of the International Society for Education<br />
Through Art (eight years); and Webmaster (ten years) and former<br />
President of the United States Society for Education through Art. She<br />
received 2007 College of <strong>Arts</strong> & Architecture Alumni Award,<br />
Pennsylvania State University and she also won the follow<strong>in</strong>g National<br />
Art Education Association Awards: 2007 Women’s Caucus June K<strong>in</strong>g<br />
McFee Award; 2005 Lowenfeld Award, and the 1995 Manual Barkan<br />
for outstand<strong>in</strong>g <strong>research</strong> article. Her qualitative <strong>research</strong> focuses on
Peter Stott<br />
Independent Artist, United K<strong>in</strong>gdom<br />
Keywords augmented reality, virtual<br />
perspective, anamorphosis, random<br />
order, 'higher' order, transcendental<br />
imag<strong>in</strong>g/CGI, ultimate gestalt,<br />
computational model, cognitive<br />
framework, cannabis, embody,<br />
reification<br />
Sara Malou Strandvad<br />
Performance-design, Department of<br />
Communication, Bus<strong>in</strong>ess and<br />
Information Technologies, Roskilde<br />
University, Build<strong>in</strong>g 42.2,<br />
Universitetsvej 1, Roskilde, 4000,<br />
Denmark<br />
Keywords sociology of art,<br />
production of culture, actor-network<br />
theory, socio-materiality, attachment,<br />
mediation, co-production,<br />
performativity<br />
multicultural teach<strong>in</strong>g/learn<strong>in</strong>g <strong>in</strong> the <strong>in</strong>ner-city Cleveland; Rotterdam,<br />
Holland; Ankara, Turkey; Sao Paulo, Brazil; Warsaw, Poland;<br />
Barcelona, Spa<strong>in</strong>; Evora, Portugal; and the Yaqui, Pima/Maricopa, Ak-<br />
Ch<strong>in</strong>, Apache and Navajo Reservations <strong>in</strong> Arizona. Her recent <strong>research</strong><br />
<strong>in</strong>volves explorations <strong>in</strong> empower<strong>in</strong>g students and disenfranchised<br />
people <strong>in</strong> virtual worlds.<br />
› Special Feature, International Journal of Education through Art, 1.3, 259-.<br />
› An <strong>in</strong>tergenerational and semiotic exploration of hair combs as material<br />
culture, International Journal of Education through Art, 6.2, 163-179.<br />
Peter Stott is an artist and writer. He was born <strong>in</strong> Burnley <strong>in</strong> 1962. He<br />
has a BA Honours degree <strong>in</strong> 3D Design from Sunderland University<br />
and an MA degree <strong>in</strong> European F<strong>in</strong>e Art from W<strong>in</strong>chester School of<br />
Art. From 2002 to 2006 he studied part-time for a Ph.D. <strong>in</strong> F<strong>in</strong>e Art at<br />
UCA, Canterbury, UK. He had a solo show at the Galeria Panorama <strong>in</strong><br />
Barcelona <strong>in</strong> 2001 and a solo show at the Mash Tun, W<strong>in</strong>chester <strong>in</strong><br />
2002. In 2006 he was short-listed for the Celeste Art Prize. Some of<br />
Peter Stott´s experimental artwork explor<strong>in</strong>g the concept of<br />
Transcendental Object perception, can be viewed at: www.<br />
saatchionl<strong>in</strong>e/pstotto.<br />
› Transcendental imag<strong>in</strong>g and augmented reality, Technoetic <strong>Arts</strong>: A Journal<br />
of Speculative Research, 9.1, 49-64.<br />
Sara Malou Strandvad is an assistant professor at Roskilde University.<br />
She holds a MA <strong>in</strong> sociology and a Ph.D. <strong>in</strong> organizational studies. Her<br />
previous work has dealt with the career construction of young Danish<br />
filmmakers, and development work <strong>in</strong> Danish film production from the<br />
perspective of 'the new sociology of art' that looks <strong>in</strong>to the role of<br />
mediators and the co-constructions of material works and social<br />
relations. Currently, she studies how creative talent is performed and<br />
evaluated <strong>in</strong> entrance exam<strong>in</strong>ations.<br />
› Is this what we should be compar<strong>in</strong>g when compar<strong>in</strong>g film production<br />
regimes? A systematic typological scheme and application, Creative<br />
Industries Journal, 1.2, 171-192.
Wendy Strauch-Nelson<br />
Keywords<br />
Janez Strehovec<br />
Keywords e-literature criticism, new<br />
media art theory, aesthetics,<br />
philosophy, phenomenology of<br />
media, text as a loop, new media<br />
content as a ride<br />
Anni<strong>in</strong>a Suom<strong>in</strong>en<br />
Keywords identity, arts-based<br />
<strong>research</strong>, autoethnography, diversity<br />
education<br />
Ian Sutherland<br />
Keywords embodied cognition,<br />
habitus, music, social <strong>in</strong>teraction, tacit<br />
knowledge<br />
› Transplant<strong>in</strong>g Froebel <strong>in</strong>to the present, International Journal of Education<br />
through Art, 8.1, 59-72.<br />
Janez Strehovec received his Ph.D. <strong>in</strong> Aesthetics from the University of<br />
Ljubljana, Slovenia <strong>in</strong> 1988. S<strong>in</strong>ce 1993 he has been work<strong>in</strong>g as<br />
pr<strong>in</strong>cipal <strong>research</strong>er for projects on cyberarts, e-literature and the<br />
Internet culture. He is a part-time Associate Professor for New Media<br />
Theories at University of Ljubljana and the author of seven books <strong>in</strong><br />
the field of cultural studies and aesthetics published <strong>in</strong> Slovenia. His<br />
most recent book is The Text and New Media (2007).<br />
› New media art as <strong>research</strong>: art-mak<strong>in</strong>g beyond the autonomy of art and<br />
aesthetics, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.3, 233-250.<br />
Anni<strong>in</strong>a Suom<strong>in</strong>en is an Assistant Professor at Kent State University.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude <strong>in</strong>terdiscipl<strong>in</strong>ary <strong>research</strong>, critical theory,<br />
fem<strong>in</strong>ist theory, visual, silent and embodied knowledge, narrative as<br />
educational <strong>research</strong>/teach<strong>in</strong>g/learn<strong>in</strong>g method, diversity education, and<br />
relational and contextual identity. She received her master’s degree<br />
from the University of Art and Design Hels<strong>in</strong>ki, F<strong>in</strong>land and a Ph.D.<br />
from The Ohio State University, USA.<br />
› Writ<strong>in</strong>g with photographs writ<strong>in</strong>g self: Us<strong>in</strong>g artistic methods <strong>in</strong> the<br />
<strong>in</strong>vestigation of identity, International Journal of Education through Art, 2.2,<br />
139-156.<br />
Orig<strong>in</strong>ally from Canada and tra<strong>in</strong>ed as a pianist and musicologist, Ian<br />
Sutherland works at the <strong>in</strong>tersection of sociology, musicology and<br />
music theory. His ma<strong>in</strong> <strong>in</strong>terest is <strong>in</strong> the compositional process as<br />
social action; how works of music are socially <strong>in</strong>fluenced or act as<br />
affordance structures for social discourse. Currently Ian is work<strong>in</strong>g on<br />
aesthetic changes <strong>in</strong> music from the Weimar Republic to the Third<br />
Reich under the supervision of Prof. Tia DeNora.
Cal Swann<br />
Keywords design, graphic design,<br />
typography, language<br />
Robert W. Sweeny<br />
Indiana University of Pennsylvania,<br />
Art/Art Education, 115 Sprowls Hall,<br />
11th Street Indiana, PA, 15705-1004,<br />
United States of America<br />
Keywords art education, hypertext,<br />
mash-up, MMORPG simulation,<br />
networked identity<br />
Steve Sw<strong>in</strong>dells<br />
University of Huddersfield,<br />
Contemporary Art, School of Art,<br />
Design and Architecture, University<br />
of Huddersfield, Huddersfield,<br />
Yorkshire, HD1 3DH, United<br />
K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>stitute, performative,<br />
animal, encounter, becom<strong>in</strong>g<br />
› Th<strong>in</strong>k<strong>in</strong>g with art: from situated knowledge to experiential know<strong>in</strong>g, Journal<br />
of Visual Art Practice, 6.2, 125-140.<br />
Cal Swann was Professor of Design <strong>in</strong> the School of Design at Curt<strong>in</strong><br />
University of Technology from 1996 to 2001 where he supervised the<br />
Higher Degrees by Research. He was responsible for the development<br />
of the coursework Master of Design programme <strong>in</strong> distance education<br />
mode, delivered via the Internet and available for study through Open<br />
Learn<strong>in</strong>g Australia <strong>in</strong> 1998, the first professional design course to<br />
exploit the new technology <strong>in</strong> this way. Now retired from full-time<br />
education he still practices graphic design and has a special <strong>in</strong>terest <strong>in</strong><br />
typography and the communication of language <strong>in</strong> both its spoken and<br />
pr<strong>in</strong>ted forms.<br />
› Nellie is Dead, Art, Design & Communication <strong>in</strong> Higher Education, 1.1, 50-<br />
58.<br />
Robert W. Sweeny is Associate Professor and Coord<strong>in</strong>ator of Art<br />
Education at Indiana University of Pennsylvania. His <strong>research</strong> <strong>in</strong>terests<br />
deal with <strong>in</strong>teractive, social, locative, and new media as they relate to<br />
art educational theory and practice. He publishes and presents <strong>in</strong><br />
numerous <strong>in</strong>ternational venues.<br />
› There’s no ‘I’ <strong>in</strong> YouTube: social media, networked identity and art<br />
education, International Journal of Education through Art, 5.2&3, 201-212.<br />
Dr. Steve Sw<strong>in</strong>dells is a Reader/Research Leader at the University of<br />
Huddersfield; his most recent exhibition Summon<strong>in</strong>g the Face of the<br />
Other at New Zealand Film Archive. He has worked collaboratively<br />
with Steve Dutton, Professor <strong>in</strong> Creative Practice at Coventry<br />
University for many years. His <strong>in</strong>dividual and collaborative work plays<br />
with and critically <strong>in</strong>terrogates images, objects and texts through<br />
processes of collage and multiple-association. The references are wide<br />
and nomadic, often deeply encoded with<strong>in</strong> the images, objects, texts,<br />
animations and sound pieces constructed. The <strong>in</strong>tention is to foster<br />
complex <strong>in</strong>terpretations by work<strong>in</strong>g through various modes of
Heather Symonds<br />
University of the <strong>Arts</strong> London,<br />
Student Services, 272 High Holborn,<br />
London, WC1V 7EY, United<br />
K<strong>in</strong>gdom<br />
Keywords oral assessment, student<br />
voices, susta<strong>in</strong>able design<br />
Elson Szeto<br />
The Hong Kong Institute of<br />
Education, 10 Lo P<strong>in</strong>g Road, Tai Po,<br />
New Territories, HKSAR, Ch<strong>in</strong>a<br />
Keywords design knowledge,<br />
coherent design curriculum,<br />
fragmented mean<strong>in</strong>gs of design,<br />
design discourse, design education<br />
production and strategic <strong>in</strong>terventions; not to deliberately confuse but<br />
to tacitly suggest or <strong>in</strong>voke a realm <strong>in</strong> which doubt, reticence and<br />
<strong>in</strong>conclusiveness is privileged over other forms of knowledge.<br />
› Writ<strong>in</strong>g Encounters: ‘Institute of Beasts’ (2008), Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 2.1, 117-125.<br />
Currently, Heather is Dyslexia Co-coord<strong>in</strong>ator/Adviser at LCC,<br />
University of the <strong>Arts</strong> London. She has been work<strong>in</strong>g with students<br />
with<strong>in</strong> the field of Creative <strong>Arts</strong> for fourteen years. Her work <strong>in</strong>cludes<br />
staff development and awareness tra<strong>in</strong><strong>in</strong>g. Her Teach<strong>in</strong>g and Learn<strong>in</strong>g<br />
Fellowship <strong>in</strong> 2005 led to staff and student handbooks and e-guidance<br />
for oral assessment. In promot<strong>in</strong>g a susta<strong>in</strong>able viva voce as<br />
accommodated assessment she has delivered staff development both<br />
nationally and <strong>in</strong>ternationally, notably, HEA 2007, SEDA 2007,<br />
CLTAD 2008 ,INSEA Japan 2008 and ‘Do<strong>in</strong>g It Better’ RMIT/La<br />
Trobe <strong>in</strong> Australia 2007.<br />
› Introduc<strong>in</strong>g oral assessment with<strong>in</strong> creative practice: ‘I can write but it's like<br />
walk<strong>in</strong>g aga<strong>in</strong>st the w<strong>in</strong>d’, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.3, 227-<br />
236.<br />
Dr. Elson Szeto is a member of the Centre for Learn<strong>in</strong>g, Teach<strong>in</strong>g and<br />
Technology, the Hong Kong Institute of Education, Ch<strong>in</strong>a. He is<br />
<strong>in</strong>volved <strong>in</strong> the <strong>in</strong>stitute’s e-learn<strong>in</strong>g development and related<br />
educational projects for enhancement of learn<strong>in</strong>g and teach<strong>in</strong>g with<br />
Information and Communication Technologies (ICT), <strong>in</strong>clud<strong>in</strong>g<br />
blended learn<strong>in</strong>g and related professional development <strong>in</strong> the context of<br />
teacher education. Szeto has published articles on the development of<br />
design <strong>in</strong>novation <strong>in</strong> firms <strong>in</strong> TQM Magaz<strong>in</strong>e and on transformation of<br />
design education <strong>in</strong> Ch<strong>in</strong>a <strong>in</strong> Xpress Journal. His <strong>research</strong> <strong>in</strong>terests are<br />
<strong>in</strong>novative pedagogy, design education, and impacts of ICT on<br />
learn<strong>in</strong>g, teach<strong>in</strong>g and assessment.<br />
› Fram<strong>in</strong>g an <strong>in</strong>tegrated framework of design curriculum <strong>in</strong> higher education:<br />
understand<strong>in</strong>gs, mean<strong>in</strong>gs and <strong>in</strong>terpretations, Art, Design & Communication<br />
<strong>in</strong> Higher Education, 9.1, 75-93.
Michael Szpakowski<br />
Writtle School of Design<br />
Keywords<br />
Joanna Szup<strong>in</strong>ska<br />
Keywords<br />
Morten Søndergaard<br />
Copenhagen Institute of Technology,<br />
Lautrupvang 2B, Ballerup, DK-2750,<br />
Denmark<br />
Keywords mapp<strong>in</strong>g, collaborative<br />
creative processes, trans-discipl<strong>in</strong>ary<br />
doma<strong>in</strong>s, renegotiat<strong>in</strong>g competences<br />
Cheung-on Tam<br />
The Hong Kong Institute of<br />
Education, Department of Cultural<br />
and Creative <strong>Arts</strong>, Assistant<br />
Professor, 10 Lo P<strong>in</strong>g Road, Tai Po,<br />
New Territories, Hong Kong<br />
Michael Szpakowski is a film-maker, composer and writer <strong>who</strong> teaches<br />
at Writtle School of Design.<br />
› One M<strong>in</strong>ute Volumes 1–4, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1,<br />
129-135.<br />
› Exhibition Reviews, Journal of Curatorial Studies, 1.1, 101-116.<br />
Morten Søndergaard is an Associate Professor and Media Art Curator;<br />
s<strong>in</strong>ce 2008 at C.I.T. – Copenhagen Institute of Technology/Aalborg<br />
University – curat<strong>in</strong>g, <strong>research</strong><strong>in</strong>g and teach<strong>in</strong>g with<strong>in</strong> Art &<br />
Technology, Interaction Design (conceptual) and Media Art Histories.<br />
He is also Media Art Curator at the Museum of Contemporary Art <strong>in</strong><br />
Roskilde, Denmark 1999–2008. His latest publication <strong>in</strong> English (w.<br />
Mogens Jacobsen) is RE_ACTION – The Digital Archive Experience<br />
(Aalborg University Publishers, 2009); (w. Peter Weibel): MAGNET –<br />
Thorbjørn Lausten’s Visual Systems (Kehrer, 2007); Get Real – Art +<br />
Real time (New York: George Braziller Publishers, 2005). His Ph.D.<br />
dissertation(2007, <strong>in</strong> Danish) was entitled 'Space Punctures – Show-<br />
Bix and the Media Conscious Practice of Per Højholt 1967'.<br />
› MAPPING the doma<strong>in</strong>s of media art practice: A trans-discipl<strong>in</strong>ary enquiry<br />
<strong>in</strong>to collaborative creative processes, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 8.1, 77-84.<br />
Dr. Cheung-on Tam was awarded a Bachelor of Education <strong>in</strong> 1992<br />
(University of Wolverhampton), a Master of Education <strong>in</strong> 1996<br />
(University of Hong Kong) and a Doctor of Philosophy <strong>in</strong> 2006<br />
(University of London). He is currently work<strong>in</strong>g at the Hong Kong<br />
Institute of Education as Assistant Professor <strong>in</strong> the Department of<br />
Cultural and Creative <strong>Arts</strong>. His publications <strong>in</strong>clude From Galleries to<br />
the Classroom: Museum and Art Education (2004), Teach<strong>in</strong>g and<br />
Learn<strong>in</strong>g of Art and Music: Innovations, Approaches and Cases
Keywords teacher education, art<br />
education, reflective practice,<br />
experience of art<br />
Stella Tan<br />
United K<strong>in</strong>gdom<br />
Keywords graphic design practice,<br />
design process, design activities,<br />
activity theory<br />
Curtis Tappenden<br />
University for the Creative <strong>Arts</strong>,<br />
Design Department of The Mail on<br />
Sunday newspaper, New Dover Road,<br />
Cantebury, CT1 3AN, United<br />
K<strong>in</strong>gdom<br />
Keywords discussion, participatory,<br />
experiment, draw<strong>in</strong>g, observation<br />
(2004), and Art Appreciation, Criticism, and Education (2001). Dr<br />
Tam’s paper entitled ‘Mak<strong>in</strong>g Mean<strong>in</strong>gful Personal Connections: A<br />
phenomenological study of non-art specialist museum visitors’<br />
experience of pa<strong>in</strong>t<strong>in</strong>gs’ appeared <strong>in</strong> the Canadian Review of Art<br />
Education (2006).<br />
› Engag<strong>in</strong>g <strong>in</strong> reflective practices: <strong>in</strong>vestigat<strong>in</strong>g pupils' experiences of art from<br />
a phenomenological perspective, International Journal of Education through<br />
Art, 6.2, 181-195.<br />
Stella Tan is a practic<strong>in</strong>g freelance visual communication designer. She<br />
is currently work<strong>in</strong>g as a <strong>research</strong>er on evaluat<strong>in</strong>g learn<strong>in</strong>g spaces <strong>in</strong><br />
higher education <strong>in</strong>stitutions, and teaches part-time to undergraduate<br />
design students. Her <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> design practice, designer<br />
expertise, user centred experience, and applied ethnography.<br />
› Graphic designers' activities dur<strong>in</strong>g the conceptual design phase of client<strong>in</strong>itiated<br />
projects Report of <strong>research</strong> <strong>in</strong> progress, reflection on the <strong>research</strong><br />
process, Art, Design & Communication <strong>in</strong> Higher Education, 8.1, 85-92.<br />
Curtis Tappenden is an author/illustrator, pa<strong>in</strong>ter, teacher, performance<br />
artist and poet <strong>who</strong> also works <strong>in</strong>-house for the Design Department of<br />
The Mail on Sunday newspaper, London. He has written eighteen<br />
books on art and design practice and has poems published <strong>in</strong><br />
anthologies. He also writes for the popular art press and has more<br />
recently written for the Travel section of The Mail on Sunday. Curtis<br />
lectures part-time <strong>in</strong> the Further Education Department, and facilitates<br />
the Creative Writ<strong>in</strong>g Group as part of this Learn<strong>in</strong>g and Teach<strong>in</strong>g<br />
<strong>research</strong> project at the University for the Creative <strong>Arts</strong>, Kent and<br />
Surrey. He lives with his wife and two children <strong>in</strong> Brighton on the<br />
south coast of England.<br />
› Writ<strong>in</strong>g experiments with a lateral lean<strong>in</strong>g, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 3.3, 211-225.<br />
› Out of our m<strong>in</strong>ds: Explor<strong>in</strong>g attitudes to creative writ<strong>in</strong>g relat<strong>in</strong>g to art and<br />
design practice and personal identity, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 3.3, 257-283.
Miriam Tawil<br />
International Psychoanalytic<br />
Association<br />
Keywords<br />
Brynjulf Tellefsen<br />
Keywords team organization, higher<br />
education, constituent orientation,<br />
leadership<br />
Susana Tereso<br />
Instituto Superior de Agronomia,<br />
Instituto Superior de Agronomia,<br />
Tapada da Ajuda, 1349-17 Lisboa,<br />
Portugal<br />
Keywords<br />
Miriam Tawil is a psychologist from Institute Sedes Sapientiae. She is<br />
a full member of the Brazilian Psychoanalytic Society of Sao Paulo,<br />
Founder of the group Body and Culture, Founder of the Laboratory for<br />
Studies on Intolerance, and Mediator from Mediativa. She is also a<br />
member of Endangered Species – a social activism forum set up by<br />
Suzie Orbach.<br />
› Fashion World – models and backstages, Critical Studies <strong>in</strong> Fashion &<br />
Beauty, 2.1-2, 207-222.<br />
Brynjulf Tellefsen is Associate Professor of Market Orientation at the<br />
Norwegian School of Management, Department of Leadership and<br />
Organizational Management. He earned his Ph.D. <strong>in</strong> bus<strong>in</strong>ess at<br />
Columbia University <strong>in</strong> 1977. His <strong>research</strong> fields are market<br />
orientation, knowledge management, and <strong>in</strong>dustrial buyer behaviour.<br />
Tellefsen edited the book Market Orientation <strong>in</strong> 1995, and he has<br />
published articles on constituent market orientation <strong>in</strong>ternationally.<br />
After four years at State University of New York, he served as Dean of<br />
the Norwegian School of Market<strong>in</strong>g for ten years. After merg<strong>in</strong>g with<br />
the Norwegian School of Management <strong>in</strong> 1993, he led and <strong>in</strong>troduced<br />
several study programmes. He has been an officer of the Norwegian<br />
Market<strong>in</strong>g Association, and a visit<strong>in</strong>g scholar at several bus<strong>in</strong>ess<br />
schools around the world. Tellefsen was Vice Chairman of NAMM; a<br />
<strong>research</strong> consortium funded by the Norwegian Research Council to<br />
study market-oriented product development and market development <strong>in</strong><br />
the food <strong>in</strong>dustry.<br />
› Integrat<strong>in</strong>g <strong>research</strong> education across departments and discipl<strong>in</strong>es: theory and<br />
experience, Art, Design & Communication <strong>in</strong> Higher Education, 1.3, 161-<br />
172.<br />
Susana Tereso has a graduate degree, a Master's and a Ph.D. <strong>in</strong> Biology<br />
and is work<strong>in</strong>g on a Ph.D. on F<strong>in</strong>e <strong>Arts</strong> at the Faculty of F<strong>in</strong>e <strong>Arts</strong> of<br />
the University of Lisbon. S<strong>in</strong>ce 2004, she has been develop<strong>in</strong>g a<br />
postdoctoral project <strong>in</strong>clud<strong>in</strong>g creativity projects, a programme on<br />
education through art and an art project.<br />
› Environmental education through art, International Journal of Education<br />
through Art, 8.1, 23-47.
Nicholas Theisen<br />
University of Michigan, 1421<br />
McIntyre St. Ann Arbor, MI 48105,<br />
United States of America<br />
Keywords textuality, parody,<br />
autobiography, schizophrenia, Marcel<br />
Proust<br />
Andrea Thoma<br />
University of Leeds, Department of<br />
Contemporary Art Practise, Leeds,<br />
West Yorkshire, LS2 9JT, United<br />
K<strong>in</strong>gdom<br />
Keywords dwell<strong>in</strong>g, nomadic space,<br />
photography, visual methodology,<br />
Heidegger<br />
Paul Thomas<br />
Curt<strong>in</strong> University of Technology,<br />
F<strong>in</strong>e Art, 6 Hunter Street, North<br />
Perth, Perth, Western Australia, 6006,<br />
Australia<br />
Keywords nanotechnology, science,<br />
perspective<br />
Nicholas Theisen received his Ph.D. <strong>in</strong> Comparative Literature from<br />
the University of Michigan (UM) <strong>in</strong> 2009. He has <strong>in</strong>terests <strong>in</strong><br />
comparative poetics and new media studies. Currently he teaches at<br />
UM as a Lecturer <strong>in</strong> the Department of Classical Studies and is coauthor<br />
of the weblog Libral Th<strong>in</strong>k<strong>in</strong>g (www.libralth<strong>in</strong>k<strong>in</strong>g.com) on<br />
textuality and the future of the book.<br />
› is not Dave Sim: Writ<strong>in</strong>g life as parody <strong>in</strong> Cerebus, Studies <strong>in</strong> Comics, 1.2,<br />
233-255.<br />
Andrea Thoma was born <strong>in</strong> Munich, Germany. She studied F<strong>in</strong>e Art at<br />
the Ecole des Beaux-<strong>Arts</strong> of Perpignan and of Montpellier <strong>in</strong> France<br />
(Diplôme National Supérieur d’Expression Plastique). She has<br />
exhibited widely <strong>in</strong> Europe and <strong>in</strong> the United States of America<br />
(pa<strong>in</strong>t<strong>in</strong>g, photography and video) and has completed various<br />
<strong>in</strong>ternational collaborative projects. Andrea is a lecturer <strong>in</strong> F<strong>in</strong>e Art at<br />
the University of Leeds. She is part of an <strong>in</strong>terdiscipl<strong>in</strong>ary <strong>research</strong><br />
cluster deal<strong>in</strong>g with spatiality and is currently <strong>in</strong>volved <strong>in</strong> several<br />
practice-based projects.<br />
› The mak<strong>in</strong>g of 'place' to enable memory, Journal of Visual Art Practice, 5.1,<br />
83-94.<br />
Dr. Paul Thomas, is the coord<strong>in</strong>ator of the Studio Electronic <strong>Arts</strong><br />
(SEA) at Curt<strong>in</strong> University of Technology and was the found<strong>in</strong>g<br />
Director of the Biennale of Electronic <strong>Arts</strong> Perth. Paul has been<br />
work<strong>in</strong>g <strong>in</strong> the area of electronic arts s<strong>in</strong>ce 1981 when he co-founded<br />
the group Media-Space. Media-Space was part of the first global l<strong>in</strong>k<br />
up with artists connected to ARTEX. From 1981-1986 the group was<br />
<strong>in</strong>volved <strong>in</strong> a number of collaborative exhibitions and was <strong>in</strong>strumental<br />
<strong>in</strong> the establishment a substantial body of <strong>research</strong>. In 2000 he founded<br />
the Biennale of Electronic <strong>Arts</strong> Perth. Paul’s current <strong>research</strong> project<br />
‘Nanoessence’ explores the space between life and death at a nano<br />
level. The project is part of an ongo<strong>in</strong>g collaboration with the Nano<br />
Research Institute, Curt<strong>in</strong> University of Technology and SymbioticA at<br />
the University of Western Australia.<br />
› Nanoessence: God, the first nano assembler, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 6.3, 217-231.
Malaika Sarco- Thomas<br />
Keywords ecology, improvisation,<br />
dance,performance, community<br />
perception<br />
Stephen Thompson<br />
Cardiff School of Art & Design,<br />
University of Wales Institute, Cardiff,<br />
CF24 0SP, United K<strong>in</strong>gdom<br />
Keywords future practice, design<br />
philosophy, holism, concept design,<br />
speculative materialism<br />
L<strong>in</strong>da J. Thomson<br />
University College London, Room<br />
G2, UCL Wolfson House, 4<br />
Stephenson Way, London, NW1 2HE,<br />
United K<strong>in</strong>gdom<br />
Keywords vision, health, well-be<strong>in</strong>g,<br />
biopsychology, memory<br />
Malaika Sarco-Thomas is a lecturer <strong>in</strong> choreography at Dart<strong>in</strong>gton<br />
Campus of University College Falmouth. She is a dance artist <strong>who</strong>se<br />
<strong>research</strong> spans dance improvisation, ecological philosophy, site-based<br />
performance, tree-climb<strong>in</strong>g, guerilla tree-plant<strong>in</strong>g and community<br />
practice. Malaika studied dance, theatre, biology and improvisation at<br />
the North Carol<strong>in</strong>a School of the <strong>Arts</strong>, Holl<strong>in</strong>s University, Kyoto Art<br />
Centre, Dart<strong>in</strong>gton College of <strong>Arts</strong> and PARTS <strong>in</strong> Brussels and was<br />
awarded a Jack Kent Cooke Foundation Fellowship <strong>in</strong> support of her<br />
postgraduate <strong>research</strong>. She is currently complet<strong>in</strong>g her Ph.D. thesis,<br />
Twig Dances: Improvisation Performance as Ecological Practice.<br />
› Improvis<strong>in</strong>g <strong>in</strong> Ruyang: Community Art as Ecological Practice, Journal of<br />
<strong>Arts</strong> & Communities, 1.1, 45-68.<br />
Stephen Thompson Ph.D. MA(rca) BA(Hons) FRSA is a co-convenor<br />
and lead <strong>research</strong>er of the MeAT Design Research Group at Cardiff<br />
School of Art & Design andthe Transtechnology Research Group <strong>in</strong> the<br />
University of Plymouth. Dr. Thompson is a design philosopher and an<br />
<strong>in</strong>dustrial and <strong>in</strong>teraction designer, and Head of the Department of<br />
Creative Communication, Cardiff School of Art & Design, University<br />
of Wales Institute, Cardiff.<br />
› Joey: a design scenario for an ord<strong>in</strong>ary life <strong>in</strong> the future, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 7.1, 13-29.<br />
L<strong>in</strong>da Thomson is Research Associate on the ‘Heritage <strong>in</strong> Hospitals’<br />
programme at University College London, and a psychologist and<br />
lecturer specializ<strong>in</strong>g <strong>in</strong> <strong>research</strong> methods, biopsychology, memory and<br />
learn<strong>in</strong>g. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the roles of vision and touch <strong>in</strong><br />
enhanc<strong>in</strong>g health and well-be<strong>in</strong>g.<br />
› Evaluat<strong>in</strong>g the therapeutic effects of museum object handl<strong>in</strong>g with hospital<br />
patients: A review and <strong>in</strong>itial trial of well-be<strong>in</strong>g measures, Journal of Applied<br />
<strong>Arts</strong> & Health, 2.1, 37-56.<br />
Will Thorne Will Thorne completed a degree at the Mack<strong>in</strong>tosh <strong>in</strong> Glasgow, and<br />
then worked <strong>in</strong> practice on a variety of projects from a public arts and a
Keywords robot, façade,<br />
environmental control<br />
Tim Thornton<br />
Keywords<br />
Teresa Tipton<br />
Anglo-American University,<br />
Humanities and Social Sciences,<br />
Lesni 557/14, Dobrichovice, 25229,<br />
Czech Republic<br />
Keywords gallery education, teacher,<br />
education, cross-cultural, pedagogy,<br />
visual culture<br />
private house at a small practice called ATAP, to a major <strong>in</strong>ternational<br />
airport at Richard Rogers Partnership. At the Bartlett he thought about<br />
how they could build build<strong>in</strong>gs host<strong>in</strong>g ecosystems of devices that<br />
encourage us to make our spaces more comfortable and conspire to<br />
reduce our environmental impact, <strong>in</strong> a way that is easy to understand<br />
and hopefully delightful. Will is currently work<strong>in</strong>g at Richard Rogers<br />
Partnership.<br />
› Edge monkeys - the design of habitat specific robots <strong>in</strong> build<strong>in</strong>gs, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 3.3, 169-180.<br />
Tim Thornton is an artist based <strong>in</strong> Tokyo and works on a series of art,<br />
architectural and teach<strong>in</strong>g projects.<br />
› Project Profiles, Design Ecologies, 1.2, 307-321.<br />
Dr. Teresa M. Tipton is a Senior Lecturer <strong>in</strong> Visual Culture and<br />
Contemporary Art at the Anglo-American University <strong>in</strong> Prague, Czech<br />
Republic. She is also Adjunct Faculty <strong>in</strong> Conflict Management at<br />
University of New York, Prague. Her <strong>research</strong> and publications focus<br />
on reflective practice and dialogic methods <strong>in</strong> pedagogy, art, and<br />
communication with undergraduate and graduate students. She has<br />
recently been an External Evaluator for the EU Comenius Lifelong<br />
Learn<strong>in</strong>g Project, 'Image and Identity: Improv<strong>in</strong>g Citizenship<br />
Education through Digital Art' through Roehampton and Charles<br />
University <strong>in</strong> Prague. As a visual artist, she conducted arts-<strong>in</strong>-education<br />
residencies for <strong>in</strong>-school and after-school programmes <strong>in</strong> the Seattle,<br />
Wash<strong>in</strong>gton State area (United States). For the past twelve years, she<br />
has taught pre-school to adult learners <strong>in</strong> <strong>in</strong>ternational schools <strong>in</strong><br />
Africa, Ch<strong>in</strong>a and the Czech Republic and participated <strong>in</strong> community<br />
service projects <strong>in</strong> Africa, Ch<strong>in</strong>a, Czech Republic, and Brazil.<br />
› Through the eyes of a stray dog: encounters with the Other, International<br />
Journal of Education through Art, 5.2&3, 111-128.<br />
Mirjana Tomasevic Mirjana Tomasevic Dancevic is Senior Advisor for Visual <strong>Arts</strong> at the
Dancevic<br />
HRV-InSEA / Education and Teacher<br />
Tra<strong>in</strong><strong>in</strong>g Agency, Visual <strong>Arts</strong> /<br />
Primary and secondary education,<br />
Jarnoviceva 3, Zagreb, Grad Zagreb,<br />
10000, Croatia<br />
Keywords teacher tra<strong>in</strong><strong>in</strong>g,<br />
communication, visual<br />
language/foreign language, feel<strong>in</strong>gs,<br />
art therapy, children<br />
Milena Tomic<br />
Keywords<br />
Mike Tovey<br />
Coventry University, Priory Street,<br />
Coventry, CV1 5FB, United K<strong>in</strong>gdom<br />
Keywords threshold concepts,<br />
<strong>in</strong>dustrial design, tacit knowledge,<br />
CETL, pedagogic <strong>research</strong><br />
Kather<strong>in</strong>e Townsend<br />
Nott<strong>in</strong>gham Trent University, School<br />
of Art and Design, Burton Street,<br />
Education and Teacher Tra<strong>in</strong><strong>in</strong>g Agency <strong>in</strong> Zagreb, Croatia. She has a<br />
MA from Zagreb University: Teacher of Visual <strong>Arts</strong>, History of Art,<br />
and English as a foreign language. She is currently writ<strong>in</strong>g a doctoral<br />
thesis <strong>in</strong> History of Art/ Art Education. She is an artist, co-author and<br />
illustrator of education materials, <strong>in</strong>clud<strong>in</strong>g art textbooks; author of a<br />
book on art therapy (Kako nacrtati osjećaj? – Likovna terapija i<br />
(s)likovni dnevnik kao samopomoć / How to Draw a Feel<strong>in</strong>g? – Art<br />
Therapy and the Visual Diary as Self-help. Zagreb: Profil, 2005) and a<br />
book of short stories & poems/draw<strong>in</strong>gs (Letjeti i vratiti se / To Fly and<br />
Come Back. Zagreb: Knjigra, 2010).<br />
› VISUAL ESSAY, International Journal of Education through Art, 1.1, 85-.<br />
› Exhibition Reviews, Journal of Curatorial Studies, 1.1, 101-116.<br />
A graduate of the RCA, Professor Mike Tovey was an <strong>in</strong>dustrial<br />
designer prior to jo<strong>in</strong><strong>in</strong>g the <strong>in</strong>stitution <strong>in</strong> 1973 as a Lecturer <strong>in</strong><br />
Industrial Design. He was appo<strong>in</strong>ted to Head of Industrial Design <strong>in</strong><br />
1985 and <strong>in</strong> 1989 was made Dean of the Coventry School of Art and<br />
Design. In 2007, he changed positions to take on the university-wide<br />
post of Director for Design. Professor Tovey is responsible for<br />
develop<strong>in</strong>gcourses and applied <strong>research</strong> <strong>in</strong> design across the university<br />
and is Director of the Centre of Excellence for Product and Automotive<br />
Design (CEPAD).<br />
› Threshold concepts and the transport and product design curriculum: reports<br />
of <strong>research</strong> <strong>in</strong> progress, Art, Design & Communication <strong>in</strong> Higher Education,<br />
8.2, 169-175.<br />
Kather<strong>in</strong>e Townsend, Ph.D., is a Pr<strong>in</strong>cipal Lecturer and Programme<br />
Leader for MA Applied Design Futures at Nott<strong>in</strong>gham Trent<br />
University. She was awarded her doctorate <strong>in</strong> 2003 for her practice-led<br />
Ph.D., which <strong>in</strong>vestigated pr<strong>in</strong>ted textile and fashion design from a 3D
Nott<strong>in</strong>gham, NG1 4BU, United<br />
K<strong>in</strong>gdom<br />
Keywords pr<strong>in</strong>ted textile, fashion<br />
design, digital technologies, digital<br />
craft<br />
Sarah Tremlett<br />
Chelsea College of Art and Design, 8<br />
Foxcombe Road, Bath, BA1 3ED,<br />
United K<strong>in</strong>gdom<br />
Keywords matternal narrative,nontraditional,subtitlepoetry,freezeframes,video<br />
pa<strong>in</strong>t<strong>in</strong>g<br />
Nicholas Tresilian<br />
Calle Antonio Machado 1, Las<br />
P<strong>in</strong>edas, Cordoba, 14111, Spa<strong>in</strong><br />
Keywords evolution, agility,<br />
punctuated, gradual, open/closed<br />
consciousness<br />
perspective through the <strong>in</strong>tegration of hand and digital technologies.<br />
The study was <strong>in</strong>formed by her early career <strong>in</strong> the <strong>in</strong>dustry, where she<br />
worked as a designer-maker. Her postdoctoral <strong>research</strong> is focused on<br />
the materiality of digital craft approaches; how disparate technologies<br />
can be synthesized <strong>in</strong> <strong>in</strong>novative ways. Kather<strong>in</strong>e has presented<br />
lectures, published papers and exhibited her work <strong>in</strong>ternationally. She<br />
is a member of the Bon<strong>in</strong>gton Gallery curatorial board <strong>in</strong> the School of<br />
Art and Design, and <strong>in</strong>volved <strong>in</strong> the organization and curation of<br />
<strong>research</strong> exhibitions<br />
› Reviews, Craft Research, 1.1, 160-166.<br />
› Editorial, Craft Research, 1.1, 3-10.<br />
› Expand<strong>in</strong>g craft: Reapprais<strong>in</strong>g the value of skill, Craft Research, 2.1, 3-10.<br />
Sarah Tremlett is a video artist/poet and Ph.D. candidate at Chelsea<br />
College of Art and Design study<strong>in</strong>g subjectivity <strong>in</strong> text-based art. She<br />
was <strong>in</strong>volved <strong>in</strong> Consciousness Reframed IX, where, <strong>in</strong>fluenced by<br />
Karen Barad’s theories of agential realism, she <strong>in</strong>troduced the term<br />
‘matternal theory of practice’, which seeks to remove the <strong>in</strong>herited<br />
post-Socratic western dualities between text or form and matter. 2009<br />
conferences and exhibitions: Topographies, Sites, Bodies,<br />
Technologies, Stanford University; solo show – Cultural<br />
Communication Centre, Klaipeda, Lithuania; The Text Festival, Bury,<br />
England; Videoformat – National Centre for Contemporary <strong>Arts</strong>,<br />
Moscow. 2010 conferences and exhibitions: Fabrika Project Space,<br />
Moscow; Loop, Barcelona; Poetry and Voice conference, Chichester<br />
University.<br />
› Some everybodies design and non-dualist filmic experience, Technoetic<br />
<strong>Arts</strong>: A Journal of Speculative Research, 8.2, 139-147.<br />
Nicholas Tresilian MA, F.R.S.A., is an art historian, broadcaster and<br />
found<strong>in</strong>g director of UK media PLCs <strong>in</strong> the United K<strong>in</strong>gdom and<br />
Europe. He was for many years a director of Artist Placement Group<br />
and its successor Organisation and Imag<strong>in</strong>ation pioneers <strong>in</strong> the<br />
placement of artists with<strong>in</strong> government organisations. He has made<br />
films for BBC2 on Peter Blake, Richard Smith and Joe Tilson. He<br />
wrote the bid for Classic FM and broadcast for the station for ten years.<br />
He is currently Vice-President of the US-based International Society<br />
for the Study of Time. He lectures and writes on the relationship<br />
between art-history and cultural evolution. He lives <strong>in</strong> Bath <strong>in</strong> the
Keith Trigwell<br />
Director of the Institute for Teach<strong>in</strong>g<br />
and Learn<strong>in</strong>g, The University of<br />
Sydney, Institute for Teach<strong>in</strong>g &<br />
Learn<strong>in</strong>g, Level 3, Carslaw Build<strong>in</strong>g,<br />
Sydney, NSW, 2006, Australia<br />
Keywords Institute for the<br />
Advancement of University Learn<strong>in</strong>g<br />
at the University of Oxford,<br />
dissertation, practice, art and design,<br />
phenomenography, learn<strong>in</strong>g<br />
Michele Trimarchi<br />
Via Ozanam, n. 113 00152, Roma,<br />
Italy<br />
Keywords <strong>in</strong>tangible value, social<br />
quality, cultural economics, cultural<br />
policy, creative districts<br />
Melissa Trim<strong>in</strong>gham<br />
The University of Kent, Department<br />
United K<strong>in</strong>gdom and near Cordoba <strong>in</strong> Spa<strong>in</strong>.<br />
› Coherence, agility and cultural selection, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 3.2, 61-72.<br />
› The swarm<strong>in</strong>g of the memes, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 6.2, 115-126.<br />
Keith Trigwell is Pr<strong>in</strong>cipal Research Fellow <strong>in</strong> the Institute for the<br />
Advancement of University Learn<strong>in</strong>g at the University of Oxford<br />
where he leads the Institute’s higher education <strong>research</strong> programme.<br />
His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the experience of university teach<strong>in</strong>g,<br />
<strong>in</strong>clud<strong>in</strong>g the scholarship of teach<strong>in</strong>g and student learn<strong>in</strong>g, particularly<br />
relations between students’ approaches to learn<strong>in</strong>g and their<br />
perceptions of aspects of their learn<strong>in</strong>g environment.<br />
› Approaches to Teach<strong>in</strong>g Design Subjects: a quantitative analysis, Art, Design<br />
& Communication <strong>in</strong> Higher Education, 1.2, 69-80.<br />
› How art, media and design students conceive of the relation between the<br />
dissertation and practice, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 4.1, 5-16.<br />
Michele Trimarchi, Ph.D., is professor of Economic Analysis of Laws<br />
(Catanzaro) and teaches Cultural Economics (Bologna). He is<br />
Scientific Director of the Master <strong>in</strong> Law, Economics and Management<br />
of Cultural Tourism (Catanzaro), and a member of the Executive Board<br />
of ARTMALL-culture future (Rome, Italy), of the Scientific Committee<br />
of Tafter journal, and the Editorial Advisory Board of Creative<br />
Industries journal.<br />
› Book Reviews, Creative Industries Journal, 1.3, 291-296.<br />
› The economics and policy of creativity: The Italian perspective, Creative<br />
Industries Journal, 2.3, 231-246.<br />
Melissa Trim<strong>in</strong>gham worked extensively <strong>in</strong> UK community theatre<br />
<strong>in</strong>clud<strong>in</strong>g many applied theatre projects with Horse and Bamboo<br />
Theatre Company, Lancashire. She is a lecturer <strong>in</strong> Drama at the
of Drama, School of <strong>Arts</strong>, Jarman<br />
Build<strong>in</strong>g, Canterbury, CT2 7UG,<br />
United K<strong>in</strong>gdom<br />
Keywords therapeutic, object,<br />
embodiment, puppet, autism<br />
Paul Trott<br />
University of Portsmouth, Bus<strong>in</strong>ess<br />
School, Richmond Build<strong>in</strong>g, Portland<br />
Street, Portsmouth, PO1 3DE, United<br />
K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>novation management,<br />
bus<strong>in</strong>ess, product development<br />
Efrat Tseëlon<br />
University of Leeds<br />
Keywords fashion theory, cultural<br />
practices, material artefacts<br />
Myrto Tsilimpounidi<br />
University of Sussex, Department of<br />
University of Kent. She has previously published on Oskar Schlemmer,<br />
the Bauhaus theatre and the methodology of practical <strong>research</strong>. She has<br />
just completed a book on the theatre of the Bauhaus for Routledge<br />
(2011). She is co-leader with Dr. Nicola Shaughnessy of the Centre for<br />
Cognition, K<strong>in</strong>esthetics and Performance at the University of Kent, and<br />
engaged with Dr. Shaughnessy on jo<strong>in</strong>t practical <strong>research</strong> <strong>in</strong>to media<br />
<strong>in</strong>terventions with autistic children.<br />
› Objects <strong>in</strong> transition: The puppet and the autistic child, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.3, 251-265.<br />
Paul Trott is a Reader <strong>in</strong> Innovation Management at the Bus<strong>in</strong>ess<br />
School, University of Portsmouth. He is the author of many reports and<br />
publications <strong>in</strong> the area of <strong>in</strong>novation management and his book<br />
Manag<strong>in</strong>g Innovation and New Product Development published by<br />
F<strong>in</strong>ancial Times Management is now <strong>in</strong> its second edition. He is also<br />
co-author of the Pengu<strong>in</strong> Bus<strong>in</strong>ess Dictionary.<br />
› Innovation <strong>in</strong> <strong>Arts</strong> and Cultural Organisations, Hasan Bakhshi and David<br />
Throsby, NESTA INTERIM RESEARCH REPORT 1, December 2009,<br />
Creative Industries Journal, 2.3, 297-303.<br />
› Outl<strong>in</strong><strong>in</strong>g a fashion studies project, Critical Studies <strong>in</strong> Fashion & Beauty,<br />
1.1, 3-53.<br />
› Charlotte Waite’s Fairy Project: Reth<strong>in</strong>k<strong>in</strong>g the fashion show, Critical<br />
Studies <strong>in</strong> Fashion & Beauty, 1.1, 136-143.<br />
› Is identity a useful critical tool, Critical Studies <strong>in</strong> Fashion & Beauty, 1.2,<br />
151-159.<br />
› Introduction: A critique of the ethical fashion paradigm, Critical Studies <strong>in</strong><br />
Fashion & Beauty, 2.1-2, 3-68.<br />
Myrto Tsilimpounidi is a social <strong>research</strong>er, photographer and the<br />
executive director of M<strong>in</strong>istry of Untold Stories. Her Ph.D. <strong>research</strong><br />
focuses on cosmopolitanism and social change <strong>in</strong> contemporary urban
Social and Political Thought, Friston<br />
Build<strong>in</strong>g, Brighton, BN1 9RH, United<br />
K<strong>in</strong>gdom<br />
Keywords photography,<br />
cosmopolitanism, social change,<br />
Athens<br />
Soichiro Tsuda<br />
United K<strong>in</strong>gdom<br />
Keywords comput<strong>in</strong>g, robot,<br />
cognitive systems, artificial<br />
<strong>in</strong>telligence, <strong>in</strong>formation process<strong>in</strong>g<br />
Judith Tucker<br />
Film International, Larch House,<br />
Sandy Gate, Scholes, Holmfirth, HD9<br />
1SS, United K<strong>in</strong>gdom<br />
Keywords landscape, postmemory,<br />
pa<strong>in</strong>t<strong>in</strong>g, Marianne Hirsch, Edward<br />
Casey<br />
Mark Tur<strong>in</strong><br />
University of Cambridge and Yale<br />
University<br />
Athens. She is currently based at the University of Sussex.<br />
› Pa<strong>in</strong>t<strong>in</strong>g human rights: Mapp<strong>in</strong>g street art <strong>in</strong> Athens, Journal of <strong>Arts</strong> &<br />
Communities, 2.2, 111-122.<br />
Dr. Soichiro Tsuda is a Leverhulme Trust <strong>research</strong> fellow at the<br />
University of the West of England. He has been work<strong>in</strong>g on the true<br />
slime mould, Physarum polycephalum, throughout his <strong>research</strong> career.<br />
So far he has developed various bio-hybrid devices us<strong>in</strong>g the organism,<br />
such as a slime-controlled autonomous robot and a storable <strong>who</strong>le-cell<br />
biosensor. He is currently <strong>in</strong>terested <strong>in</strong> architectural applications of the<br />
slime cell because it shows some ‘primitive <strong>in</strong>telligence’ (e.g. cell<br />
shape optimization), which could potentially be useful toward<br />
develop<strong>in</strong>g the concept of liv<strong>in</strong>g build<strong>in</strong>gs.<br />
› Robot with slime ‘bra<strong>in</strong>s’, Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 7.2, 133-140.<br />
Dr. Judith Tucker is a pa<strong>in</strong>ter and currently AHRC Research Fellow <strong>in</strong><br />
the Creative and Perform<strong>in</strong>g <strong>Arts</strong> <strong>in</strong> the School of F<strong>in</strong>e Art, History of<br />
Art and Cultural Studies and the AHRC Centre CATH, University of<br />
Leeds. She is co-convenor of LAN2D, a network of artists associated<br />
with higher education <strong>who</strong> are concerned with radical approaches to<br />
landscape, with a particular focus on memory, place and identity. She<br />
exhibits regularly both <strong>in</strong> the United K<strong>in</strong>gdom and on the cont<strong>in</strong>ent.<br />
› Resort: re/visit<strong>in</strong>g, re/vision<strong>in</strong>g, re/plac<strong>in</strong>g, Journal of Visual Art Practice,<br />
5.1, 95-106.<br />
› On the Beach at Bornholm, Journal of Visual Art Practice, 9.3, 267-272.<br />
Mark Tur<strong>in</strong> was tra<strong>in</strong>ed <strong>in</strong> social anthropology at the University of<br />
Cambridge after which he spent a year catalogu<strong>in</strong>g Christoph von<br />
Fürer-Haimendorf's ethnographic films. Then he jo<strong>in</strong>ed the Himalayan<br />
Languages Project at Leiden University, the Netherlands, to write a<br />
grammar of Thangmi, a hitherto undescribed Tibeto-Burman language
Keywords spoken <strong>in</strong> eastern Nepal. His doctoral dissertation offers an analysis of<br />
the grammar of the Thangmi language supported by glossed texts and a<br />
comprehensive lexicon of the two ma<strong>in</strong> dialects.Mark currently directs<br />
the Digital Himalaya Project and the World Oral Literature Project. He<br />
is an associate <strong>research</strong> scientist at the South Asian Studies Council,<br />
Yale University; a <strong>research</strong> associate at the Museum of Archaeology<br />
and Anthropology <strong>in</strong> Cambridge; an honorary <strong>research</strong> fellow at Anglia<br />
Rusk<strong>in</strong> University and a fellow of Hughes Hall, University of<br />
Cambridge.<br />
Joan Turner<br />
Goldsmiths College - University of<br />
London, Language Studies Centre,<br />
Lewisham Way New Cross, London,<br />
SE14 6NW, United K<strong>in</strong>gdom<br />
Keywords tutor-student <strong>in</strong>teraction,<br />
academic writ<strong>in</strong>g <strong>in</strong> f<strong>in</strong>e art, English<br />
for specific purposes, genre analysis<br />
Cathy Turner<br />
University of W<strong>in</strong>chester, Perform<strong>in</strong>g<br />
<strong>Arts</strong>, West Hill, W<strong>in</strong>chester, SO22<br />
4NR, United K<strong>in</strong>gdom<br />
Keywords performance, theatre,<br />
dialogue, playwrit<strong>in</strong>g, dramaturgy<br />
› Salvag<strong>in</strong>g the records of salvage ethnography: The story of the Digital<br />
Himalaya Project, Book 2.0, 1.1, 39-46.<br />
Joan Turner is Senior Lecturer and Head of the Language Studies<br />
Centre at Goldsmiths College, University of London. Her <strong>research</strong><br />
<strong>in</strong>terests are <strong>in</strong> the role and conceptualizations of language, as well as<br />
language use <strong>in</strong> academic contexts. She has written a book on study<br />
skills, co-edited a book on writ<strong>in</strong>g <strong>in</strong> the university, and published a<br />
number of articles on cross-cultural pragmatics, conventional<br />
metaphor, English for academic purposes, and academic literacy.<br />
› Synergy <strong>in</strong> art and language: position<strong>in</strong>g the language specialist <strong>in</strong><br />
contemporary f<strong>in</strong>e art study, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 3.3, 149-162.<br />
Cathy Turner is a Reader <strong>in</strong> Perform<strong>in</strong>g <strong>Arts</strong> at the University of<br />
W<strong>in</strong>chester and <strong>research</strong>es with<strong>in</strong> the Centre for Research <strong>in</strong>to<br />
Expanded Dramaturgies. She is director of ‘Writ<strong>in</strong>g Space’, a <strong>research</strong><br />
project <strong>in</strong>vestigat<strong>in</strong>g the development of new writ<strong>in</strong>g and is jo<strong>in</strong>t<br />
author, with Synne Behrndt, of Dramaturgy and Performance<br />
(Palgrave Macmillan, 2008). She is a core member of Wrights & Sites,<br />
a group of artists <strong>who</strong>se work is concerned with our relationship to<br />
place and space.<br />
› ‘Someth<strong>in</strong>g to glance off ’: Writ<strong>in</strong>g Space, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 2.2, 217-230.
Helen Turner<br />
York St John University, Lord<br />
Mayors Walk, York, North Yorkshire,<br />
YO31 7EX, United K<strong>in</strong>gdom<br />
Keywords cross-art form, community<br />
groups, mental health, public art<br />
Jessica Turrell<br />
University of the West of England,<br />
Centre for F<strong>in</strong>e Pr<strong>in</strong>t Research, Bower<br />
Ashton Campus, Kennel Lodge Road,<br />
Bristol, BS3 2JT, United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>novation, contemporary<br />
jewellery, skill, craft, vitreous enamel<br />
Jane Tynan<br />
Central St Mart<strong>in</strong>s College of Art and<br />
Design - University of the <strong>Arts</strong><br />
London, Southampton Row, London,<br />
WC1B 4AP, United K<strong>in</strong>gdom<br />
Keywords cultural studies,<br />
vocationalism, foundation degree,<br />
widen<strong>in</strong>g participation, nontraditional<br />
students<br />
Helen Turner is a senior lecturer <strong>in</strong> Community Art and F<strong>in</strong>e Art at<br />
York St John University. Helen is a Visual Artist work<strong>in</strong>g across<br />
Community Art and Public Art. She has worked on a variety of<br />
projects rang<strong>in</strong>g from; schools, mental health service users, community<br />
groups, disadvantaged youth, care leavers and <strong>in</strong> healthcare. She has a<br />
particular <strong>in</strong>terest <strong>in</strong> collaborative and cross-art form work and project<br />
management. She also delivers tra<strong>in</strong><strong>in</strong>g courses for visual artists<br />
aspir<strong>in</strong>g to apply their practice.<br />
› Forgett<strong>in</strong>g the mach<strong>in</strong>e: Patients experiences of engag<strong>in</strong>g <strong>in</strong> artwork while<br />
on renal dialysis, Journal of Applied <strong>Arts</strong> & Health, 2.1, 57-72.<br />
Hav<strong>in</strong>g graduated from Central School of Art <strong>in</strong> London, Jessica<br />
Turrell established a jewellery and enamel studio <strong>in</strong> Bristol. Latterly<br />
she undertook a susta<strong>in</strong>ed period of <strong>research</strong> <strong>in</strong>to mark-mak<strong>in</strong>g <strong>in</strong><br />
enamel us<strong>in</strong>g non-traditional techniques which, comb<strong>in</strong>ed with<br />
<strong>in</strong>vestigations <strong>in</strong>to pr<strong>in</strong>t-mak<strong>in</strong>g techniques for enamel, formed the<br />
focus of her postgraduate study at University of the West of England<br />
(UWE), Bristol. Jessica’s current studio practice <strong>in</strong>cludes the<br />
production of both jewellery and larger scale enamel work for<br />
exhibition.<br />
› Surface and substance: A call for the fusion of skill and ideas <strong>in</strong><br />
contemporary enamel jewellery, Craft Research, 1.1, 85-100.<br />
Jane Tynan is a senior lecturer <strong>in</strong> cultural studies at Central Sa<strong>in</strong>t<br />
Mart<strong>in</strong>s College of Art and Design. She has taught on cultural and<br />
historical programmes for art and design courses <strong>in</strong> the National<br />
College of Art and Design <strong>in</strong> Dubl<strong>in</strong>, Goldsmiths College and London<br />
College of Fashion <strong>in</strong> London. Her current Ph.D. <strong>research</strong> on World<br />
War I British army uniform explores representations of soldiers and<br />
cultures of production and consumption of army cloth<strong>in</strong>g. Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude art and design modernism, gender and visual<br />
representation.<br />
› Access and participation: Reth<strong>in</strong>k<strong>in</strong>g work-based learn<strong>in</strong>g on the foundation<br />
degree <strong>in</strong> art and design, Art, Design & Communication <strong>in</strong> Higher Education,<br />
5.1, 39-54.
Moraiti Tzeni<br />
United K<strong>in</strong>gdom<br />
Keywords Greece, preschool<br />
children, secondary colours,<br />
educational <strong>in</strong>tervention<br />
Rebecca Uchill<br />
Keywords<br />
Hideshi Uda<br />
Nara University of Education,<br />
Takabatake-cho, Nara City, Nara<br />
Prefecture, 630-8528, Japan<br />
Keywords teach<strong>in</strong>g guidel<strong>in</strong>es,<br />
playful activity, art study, Japan<br />
Dr. Moraiti Tzeni is a graduate <strong>in</strong> the Department of Preschool<br />
Education at the University of Crete, Greece, <strong>in</strong> the Department of<br />
Primary School Education at Aristotle University of Thessaloniki,<br />
Greece, and completed her Ph.D. thesis at the Democritus University of<br />
Thrace, Greece. She worked for many years as k<strong>in</strong>dergartner <strong>in</strong><br />
preschool education and for four years she was a Preschool Advisor.<br />
Now she teaches <strong>in</strong> the Department of Preschool Education at the<br />
University of Thessaly <strong>in</strong> Greece. She has written five books on subject<br />
<strong>in</strong>structional procedures <strong>in</strong> preschool education, and articles which<br />
have been published <strong>in</strong> Greek and foreign reviews. Her <strong>research</strong><br />
proposals have also been <strong>in</strong>cluded <strong>in</strong> Greek and foreign conference<br />
proceed<strong>in</strong>gs.<br />
› Creat<strong>in</strong>g orange purple and green: an experiment with preschool children <strong>in</strong><br />
Greece, International Journal of Education through Art, 5.1, 37-49.<br />
Rebecca Uchill's publications <strong>in</strong>clude On Procession: Art on Parade<br />
(2009) and Adrian Schiess: Elusive (2007), along with articles <strong>in</strong><br />
ASPECT: The Chronicle of New Media Art, Visual Resources and Art<br />
Papers. She was Associate Curator of contemporary art at the<br />
Indianapolis Museum of Art, and is now complet<strong>in</strong>g her doctorate <strong>in</strong><br />
the History, Theory and Criticism of Art program at the Massachusetts<br />
Institute of Technology, where she studies the <strong>in</strong>stitutional conditions<br />
for contemporary art production, display and dissem<strong>in</strong>ation.<br />
› Hang<strong>in</strong>g Out, Crowd<strong>in</strong>g Out or Talk<strong>in</strong>g Th<strong>in</strong>gs Out: Curat<strong>in</strong>g the Limits of<br />
Discursive Space, Journal of Curatorial Studies, 1.1, 27-43.<br />
Hideshi Uda is a professor of F<strong>in</strong>e <strong>Arts</strong> Education, Graduate School of<br />
Education and Faculty of Education, Nara University of Education,<br />
Japan. He was a codirector, congress agenda of the 32nd InSEA World<br />
Congress 2008 <strong>in</strong> Osaka, Japan. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
development of teach<strong>in</strong>g materials for art classes, the history of art<br />
education and refreshment of teachers <strong>in</strong> <strong>in</strong>-service education.<br />
› Japanese Art Education: Introduction of Zokei-Asobi (Playful Art Study),<br />
International Journal of Education through Art, 6.2, 229-242.
Victor I. Ukaegbu<br />
The University of Northampton,<br />
School of The <strong>Arts</strong>, St George’s<br />
Avenue, Northampton, NN2 6JD,<br />
United K<strong>in</strong>gdom<br />
Keywords performance, <strong>in</strong>teraction,<br />
medic<strong>in</strong>e sales, advertis<strong>in</strong>g,<br />
shamanism, sales-performers<br />
Seija Ulkuniemi<br />
University of Lapland, Faculty of Art<br />
and Design, Rovaniemi, PL 122,<br />
96101, F<strong>in</strong>land<br />
Keywords visual communication,<br />
photography, women, family<br />
Kev<strong>in</strong> Underwood<br />
AECOM<br />
Keywords<br />
Dr. Victor I. Ukaegbu is a senior lecturer and course leader for Drama<br />
at The University of Northampton. He has written on African and<br />
<strong>in</strong>tercultural theatres, postcolonial performances, gender, black British<br />
theatre, applied theatre, <strong>in</strong>clud<strong>in</strong>g a book; The Use of Masks <strong>in</strong> Igbo<br />
Theatre <strong>in</strong> Nigeria: the Aesthetic Flexibility of Performance Traditions.<br />
He is Associate Editor of African Performance Review and a member<br />
of the Editorial Board of World Scenography (Africa/Middle East).<br />
› Performative encounters: Performance <strong>in</strong>tervention <strong>in</strong> market<strong>in</strong>g health<br />
products <strong>in</strong> Nigeria, Journal of Applied <strong>Arts</strong> & Health, 1.1, 35-51.<br />
Seija Ulkuniemi was born at Rovaniemi, Lapland <strong>in</strong> 1963. From 1985<br />
she worked both as a classroom and art teacher <strong>in</strong> comprehensive and<br />
high schools <strong>in</strong> F<strong>in</strong>land. In 1997 she was appo<strong>in</strong>ted Senior Lecturer <strong>in</strong><br />
Art Education at the University of Lapland where <strong>in</strong> 2006 she became<br />
Professor of Art Education <strong>in</strong> the Faculty of Art and Design.<br />
› Exposed lives: dialogues between viewers and <strong>in</strong>stallations about family<br />
photography, International Journal of Education through Art, 3.1, 43-56.<br />
Kev<strong>in</strong> Underwood is the Vice-President of AECOM Design +<br />
Plann<strong>in</strong>g. As global leader of AECOM's resorts, leisure and tourism<br />
projects, he works with the world's major hotel operators, and his focus<br />
is on comb<strong>in</strong><strong>in</strong>g the f<strong>in</strong>est hospitality with economic, environmental<br />
and social susta<strong>in</strong>ability. In urban masterplann<strong>in</strong>g and regeneration,<br />
current projects <strong>in</strong>clude the Msheireb Heart of Doha <strong>in</strong> Qatar, creat<strong>in</strong>g<br />
a unique modern Islamic city rooted <strong>in</strong> the past. His landscape design<br />
projects range from the sett<strong>in</strong>gs for corporate HQs to campus design -<br />
among the largest schemes underway is Education City <strong>in</strong> Qatar, where<br />
academic <strong>in</strong>stitutions will enjoy a susta<strong>in</strong>able landscaped sett<strong>in</strong>g of<br />
more than 1000 hectares.<br />
› Msheireb Heart of Doha: An Alternative Approach to Urbanism <strong>in</strong> the Gulf<br />
Region, International Journal of Islamic Architecture, 1.1, 131-147.<br />
Vuk Uskoković Vuk Uskoković, a native of Belgrade, Serbia, holds degrees <strong>in</strong> Physical<br />
Chemistry, Electrical Eng<strong>in</strong>eer<strong>in</strong>g and Nanosciences and
University of California, San<br />
Francisco, California, 94143, United<br />
States of America<br />
Keywords co-creation, creativity,<br />
electron microscopy, science<br />
Øyv<strong>in</strong>d Vågnes<br />
University of Bergen, Department of<br />
Information Science and Media<br />
Studies, P. O. Box 7802, Bergen, NO-<br />
5020, Norway<br />
Keywords narrative erotics, trauma,<br />
graphic memoir, Stitches, David<br />
Small<br />
Louise Valent<strong>in</strong>e<br />
Keywords designer’s th<strong>in</strong>k<strong>in</strong>g,<br />
m<strong>in</strong>dfulness, rhetoric, visual th<strong>in</strong>k<strong>in</strong>g,<br />
dialogue<br />
Nanotechnologies. He is currently at the University of California, San<br />
Francisco, where he is <strong>in</strong>volved <strong>in</strong> the <strong>research</strong> of bio-mimetic<br />
formation of biom<strong>in</strong>eralized tissues. He is a former member of Jožef<br />
Stefan Institute, Ljubljana, where he developed methods for the<br />
synthesis of magnetic nanoparticles applicable <strong>in</strong> the fields of<br />
electronics and biomedic<strong>in</strong>e, and of the Center for Advanced Materials<br />
Process<strong>in</strong>g of Clarkson University <strong>in</strong> Potsdam, NY, where he<br />
<strong>in</strong>vestigated the mechanisms for the precipitation of cholesterol.<br />
Besides his dedication to scientific <strong>research</strong> <strong>in</strong> the area of physical<br />
chemistry, he has published studies <strong>in</strong> the fields of cognitive science,<br />
ecology, philosophy and social science.<br />
› A collection of micrographs: where science and art meet, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 7.3, 231-247.<br />
Øyv<strong>in</strong>d Vågnes is a Postdoctoral Fellow <strong>in</strong> the Department of<br />
Information Science and Media Studies at the University of Bergen,<br />
Norway, where he is a part of the <strong>research</strong> group Nomadikon. Among<br />
his publications are several articles on comics (<strong>in</strong> Norwegian) for the<br />
Book Review Morgenbladet. He is work<strong>in</strong>g on a book tentatively titled<br />
Images from the Dark Side: Pictur<strong>in</strong>g the War on Terror, on nonfiction<br />
narratives that concern the ongo<strong>in</strong>g War on Terror (with<br />
chapters on Errol Morris, Joe Sacco and N<strong>in</strong>a Berman, among others),<br />
and has published articles on the subject of witness<strong>in</strong>g and 9/11. With<br />
Asbjørn Grønstad he is the co-editor of a volume of essays on the<br />
album cover, Coverscap<strong>in</strong>g: Discover<strong>in</strong>g Album Aesthetics (Museum<br />
Tuscalunum Press). He has published three novels <strong>in</strong> Norwegian, Ingen<br />
skal sove i natt (2003),<br />
› Show<strong>in</strong>g silence: David Small's Stitches, Studies <strong>in</strong> Comics, 1.2, 301-314.<br />
Dr. Louise Valent<strong>in</strong>e is a lecturer and AHRC Postdoctoral Research<br />
Investigator based <strong>in</strong> Duncan of Jordanstone College, University of<br />
Dundee. Louise’s <strong>research</strong> remit with<strong>in</strong> the multi-discipl<strong>in</strong>ary team<br />
project <strong>in</strong>vestigat<strong>in</strong>g ‘Past, Present and Future Craft Practice’, <strong>in</strong>cludes<br />
collaboration with contemporary craft practitioners, external relations<br />
management and employment of knowledge management strategies for<br />
develop<strong>in</strong>g teamwork. She also has responsibility for the development<br />
of a new <strong>in</strong>terdiscipl<strong>in</strong>ary/<strong>in</strong>teruniversity postgraduate programme<br />
entitled ‘Capitalis<strong>in</strong>g on Creativity’, which synthesizes creative and<br />
management practice, and lectures on the theory and practice of design<br />
th<strong>in</strong>k<strong>in</strong>g, visualization and teamwork. Louise was Course Director for
Deneb Kozikoski Valereto<br />
Leiden University<br />
Keywords cont<strong>in</strong>ental philosophy,<br />
literature, ethics<br />
Michaela Vamos<br />
University of <strong>Arts</strong> L<strong>in</strong>z, Department<br />
of Art Education, Sonnenste<strong>in</strong>straße<br />
11-13, 4040 L<strong>in</strong>z, Austria<br />
Keywords pupils, secondary-school,<br />
new media, survey<br />
Hilde Van Gelder<br />
Katholieke Universiteit Leuven,<br />
Faculty of <strong>Arts</strong>: Art History, Blijde-<br />
Inkomststraat 21, postbus 3313, B-<br />
3000 Leuven, Belgium<br />
the multi-discipl<strong>in</strong>ary and multi-cultural Master of Design programme<br />
at Duncan of Jordanstone (2005) and has <strong>in</strong>itiated a new MSc, Craft<br />
and Creative Bus<strong>in</strong>ess.<br />
› Susta<strong>in</strong><strong>in</strong>g Ambiguity and Foster<strong>in</strong>g Openness <strong>in</strong> the (Design) Learn<strong>in</strong>g<br />
Environment, Art, Design & Communication <strong>in</strong> Higher Education, 7.3, 155-<br />
167.<br />
Deneb Kozikoski Valereto is complet<strong>in</strong>g her Research Masters <strong>in</strong><br />
Literature at Leiden University, the Netherlands. Her <strong>in</strong>terests <strong>in</strong>clude<br />
twentieth-century cont<strong>in</strong>ental philosophy and <strong>in</strong>tersections between<br />
philosophy and literature, especially <strong>in</strong> the works of Derrida and<br />
Deleuze. Her literary <strong>in</strong>terests <strong>in</strong>clude twentieth-century Lat<strong>in</strong><br />
American and German literature. Among her newly found <strong>in</strong>terests are<br />
Alan Moore’s graphic novels and literary visions of new modes of<br />
th<strong>in</strong>k<strong>in</strong>g the questions of ethics and justice.<br />
› Philosophy <strong>in</strong> the fairground: Thoughts on madness and madness <strong>in</strong> thought<br />
<strong>in</strong> The Kill<strong>in</strong>g Joke, Studies <strong>in</strong> Comics, 2.1, 69-80.<br />
Michaela Vamos is an art teacher and <strong>research</strong>er with<strong>in</strong> the field of art<br />
education. She studied Art Education and Textiles at the University of<br />
Art <strong>in</strong> L<strong>in</strong>z, Austria (1998–2004), followed by doctoral studies (2004–<br />
07). In December 2007 Michaela was awarded the Junger<br />
Wissenschaftspreis (Young Science Award) (IPOL) from the federal<br />
government of Upper Austria for the work she did for her Ph.D.<br />
› Gender-orientated media usage?, International Journal of Education through<br />
Art, 6.1, 59-73.<br />
Hilde Van Gelder is Professor of Contemporary Art History at the<br />
KULeuven (Belgium). She is director of the Lieven Gevaert Research<br />
Centre for Photography (www.lievengevaertcentre.be). She is also<br />
Editor of the ‘Lieven Gevaert Series’ (University Press Leuven) and<br />
Editor of Image [&] Narrative (www.imageandnarrative.be).<br />
Photography Theory <strong>in</strong> Historical Perspective. She is co-author of Case<br />
Studies from Contemporary Art with Helen Westgeest (University
Keywords art history, contemporary<br />
art, photography, culture, philosophy<br />
Catal<strong>in</strong>a Rigo Vanrell<br />
Complutense University of Madrid,<br />
Dept. of Didactics of Plastic<br />
Expression, Office 1609, c/ Rector<br />
Royo Vilanova s/n, Madrid, 28040,<br />
Spa<strong>in</strong><br />
Keywords art therapy, gender equity,<br />
social change and <strong>in</strong>clusion, education<br />
Maarten Vanvolsem<br />
S<strong>in</strong>t-Lukas Brussels University<br />
College of Art and Design / Lieven<br />
Gevaert Research Centre for<br />
Photography, Stationsstraat 62,<br />
Stationsstraat 62, S<strong>in</strong>t-Joris-Weert<br />
(Oud-Heverlee), B-3051, Belgium<br />
Keywords photography, stripphotography,<br />
time, experience of<br />
time, time and the image, camera<br />
designer<br />
Leiden).<br />
› Photo-filmic images <strong>in</strong> contemporary visual culture, Philosophy of<br />
Photography, 1.1, 48-53.<br />
The <strong>research</strong> group ‘Aplicaciones del arte para la <strong>in</strong>clusión social: arte,<br />
terapia y educación para la diversidad’/Applications of art for social<br />
<strong>in</strong>clusion: art, therapy and education for diversity, is part of a larger<br />
team of teach<strong>in</strong>g staff at the Complutense University of Madrid, which<br />
has promoted studies on art, social <strong>in</strong>clusion and art therapy, to a<br />
European MA and Ph.D. The group, composed of Primary and<br />
Secondary School teachers, professors at the Faculty of Education and<br />
<strong>research</strong>ers on Art Education and Art Therapy, has published a variety<br />
of books on art therapy and social <strong>in</strong>clusion, such as Creación y<br />
posibilidad/Creation and Possibility (López Fernández Cao 2006) and<br />
Arteterapia y educación/Art Therapy and Education (Martínez Díez<br />
and López Fernández Cao 2004), and a collection of thirteen<br />
educational projects under the name ‘Posibilidades de<br />
› Social functions of art: Educational, cl<strong>in</strong>ical, social and cultural sett<strong>in</strong>gs.<br />
Try<strong>in</strong>g a new methodology, International Journal of Education through Art,<br />
6.3, 397-412.<br />
Dr. Maarten Vanvolsem is photographer, Head of the MA programme<br />
<strong>in</strong> Photography at S<strong>in</strong>t-Lukas Brussels University College of Art and<br />
Design and is Research Fellow at the Lieven Gevaert Centre for<br />
Photography. Recently he published an article: 'Motion! On how to<br />
deal with the paradox <strong>in</strong> dance photography', Image [&] Narrative [ejournal],<br />
23 (2008), and the book MOVE:IN:TIME <strong>in</strong> collaboration<br />
with the Concertgebouw Brugge, on the occasion of the International<br />
Dance Festival DecemberDance (December 2007). In the last five<br />
years he had several solo- and group-exhibitions <strong>in</strong> Belgium and<br />
abroad. Maarten Vanvolsem graduated as a master <strong>in</strong> photography, at<br />
S<strong>in</strong>t-Lukas Brussels <strong>in</strong> 2000, he then was accepted as a <strong>research</strong> fellow<br />
at the Jan van Eyck Akademie (Maastricht The Netherlands) <strong>in</strong> 2001.<br />
› H<strong>in</strong>t<strong>in</strong>g at an experience of time <strong>in</strong> still photography, Journal of Visual Art<br />
Practice, 4.1, 49-.
Augustus Ve<strong>in</strong>oglou<br />
Keywords Renaissance, sculpture<br />
Rodrigo Velasco<br />
Keywords correspondence, flânerie,<br />
photography, travel, visual <strong>research</strong><br />
Luiz Velho<br />
Keywords virtual reality, panoramic<br />
image, Visorama, cybernetic<br />
observatory<br />
Augustus Ve<strong>in</strong>oglou was born <strong>in</strong> Athens <strong>in</strong> 1982. He graduated from<br />
Ed<strong>in</strong>burgh College of Art with a BA (HON), 2004. In 2003 he stayed<br />
<strong>in</strong> Estonia for four months where he jo<strong>in</strong>ed the <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
department at the Estonian Academy of Art under the supervision of<br />
the artist and head of department Jaan Toomik. He received the John<br />
K<strong>in</strong>ross <strong>research</strong> award, from the Royal Scottish Academy, 2004 to<br />
travel to Italy and <strong>research</strong> Renaissance and ancient Italian art. He lived<br />
<strong>in</strong> Greece from 2005 to 2009 where he exhibited <strong>in</strong> numerous group<br />
shows <strong>in</strong> Athens and Thessaloniki. Dur<strong>in</strong>g that time he worked as an<br />
art tutor and freelance sculptor. In 2009 started his Postgraduate degree<br />
(MFA) <strong>in</strong> Ed<strong>in</strong>burgh College of Art, <strong>in</strong> the department of Sculpture<br />
under the supervision of professors, Neil Mulholland, Krist<strong>in</strong><br />
Mojsiewicz and sculptor Kenny Hunter.<br />
› Project profiles, Design Ecologies, 1.1, 153-.<br />
Rodrigo Velasco studied architecture <strong>in</strong> Bogota, Columbia. He has<br />
received various prizes <strong>in</strong> national and <strong>in</strong>ternational design<br />
competitions and is currently undertak<strong>in</strong>g doctoral <strong>research</strong> at the<br />
University of Nott<strong>in</strong>gham. He recently organized a symposium of the<br />
Architectural Construction Research Group on ‘Systems & Design’ (a<br />
project <strong>in</strong> collaboration with Nott<strong>in</strong>gham Trent University, University<br />
of L<strong>in</strong>coln and Architecture Week 2004).<br />
› In the Study of the Letters <strong>in</strong> Red…, Journal of Visual Art Practice, 4.1, 19-<br />
28.<br />
Dr. Luiz Velho is a <strong>research</strong>er at the Instituto de Matematica Pura e<br />
Aplicada <strong>in</strong> Rio de Janeiro. His experience <strong>in</strong> computer graphics spans<br />
the fields of modell<strong>in</strong>g, render<strong>in</strong>g, imag<strong>in</strong>g and animation. Dur<strong>in</strong>g 1982<br />
he was a visit<strong>in</strong>g <strong>research</strong>er at the National Film Board of Canada.<br />
From 1985 to 1987 he was a Systems Eng<strong>in</strong>eer at the Fantastic<br />
Animation Mach<strong>in</strong>e <strong>in</strong> New York, where he developed the company's<br />
3D visualization system. From 1987 to 1991 he was a Pr<strong>in</strong>cipal<br />
Eng<strong>in</strong>eer at Globo TV Network <strong>in</strong> Brazil, where he created special<br />
effects and visual simulation systems. In 1994 he was a visit<strong>in</strong>g<br />
professor at the Courant Institute of Mathematical Sciences of New<br />
York University. He has published extensively <strong>in</strong> conferences and<br />
journals of the area. He is the author of several books and has taught<br />
many courses on graphics-related topics.
Shilpa Venkatachalam<br />
University of Nott<strong>in</strong>gham,<br />
Postgraduate School of Crit Th &<br />
Cultural Studies, University Park,<br />
Nott<strong>in</strong>gham, Nott<strong>in</strong>ghamshire, NG7<br />
2RD, United K<strong>in</strong>gdom<br />
Keywords contemplation, spectator,<br />
Heidegger, Arnheim<br />
Emmanuel Vercruysse<br />
Architectural Association and<br />
University College London<br />
Keywords design, education,<br />
architecture<br />
Marcus Verhagen<br />
Keywords Postgraduate Diploma<br />
courses, crossovers, curat<strong>in</strong>g,<br />
learn<strong>in</strong>g, teach<strong>in</strong>g strategy<br />
› A cybernetic observatory based on panoramic vision, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 6.1, 79-98.<br />
Shilpa Venkatachalam is currently do<strong>in</strong>g her Ph.D. <strong>in</strong> the area of<br />
philosophy and literature at the Postgraduate School of Critical Theory<br />
and Cultural Studies, University of Nott<strong>in</strong>gham. Her <strong>research</strong> focuses<br />
on the notion of ‘be<strong>in</strong>g, consciousness and the self’ and the expression<br />
of this <strong>in</strong> certa<strong>in</strong> literary texts and <strong>in</strong> the philosophy of Mart<strong>in</strong><br />
Heidegger. Shilpa completed her Masters from the University of<br />
Durham, <strong>in</strong> English studies, with special emphasis on the <strong>in</strong>terrelation<br />
of literature with philosophy and science.<br />
› Technology and the contemplation of art Contemplat<strong>in</strong>g the work of art us<strong>in</strong>g<br />
the HIPS technology, Journal of Visual Art Practice, 3.3, 179-194.<br />
Emmanuel Vercruysse BSc [hons], DipArch, MArch. Emmanuel is a<br />
designer, fabricator and educator. He studied Furniture design <strong>in</strong> Gent,<br />
Belgium before complet<strong>in</strong>g his architectural education at the Bartlett<br />
School of Architecture, London, where he teaches Diploma Unit 23<br />
with Bob Sheil of Sixteen*[makers]. Emmanuel is also a design tutor<br />
embedded <strong>in</strong> the Bartlett’s workshops and hav<strong>in</strong>g previously run the<br />
metal workshop, he now runs the Bartlett’s state-of-the-art Cad Cam<br />
facility.<br />
› Project profiles, Design Ecologies, 1.1, 153-.<br />
Marcus Verhagen [RB1] has a Ph.D. <strong>in</strong> art history from the University<br />
of California at Berkeley, and has taught at universities and art colleges<br />
<strong>in</strong> both United K<strong>in</strong>gdom and the United States. Initially work<strong>in</strong>g on<br />
French art of the late n<strong>in</strong>eteenth century, he now writes chiefly on<br />
contemporary art. He has published articles <strong>in</strong> academic journals and<br />
anthologies and has, over the past few years, contributed some fifty<br />
essays and reviews to magaz<strong>in</strong>es such as Art Monthly, Art Review,<br />
Modern Pa<strong>in</strong>ters and frieze. Much of his most recent work looks at<br />
globalization and its impact on contemporary art.
Victoria Vesna<br />
UCLA, Dept. of Design | Media <strong>Arts</strong>,<br />
Broad <strong>Arts</strong> center, 11000 K<strong>in</strong>ross<br />
Ave, Los Angeles, CA 90095, United<br />
States of America<br />
Keywords nanotechnology,<br />
nanometre, nanobots<br />
Rachel de Sousa Vianna<br />
Universidade do Estado de M<strong>in</strong>as<br />
Gerais, Escola Guignard, Rua Coletor<br />
Celso Werneck, 200/102, Belo<br />
Horizonte, M<strong>in</strong>as Gerais, 30.350-010,<br />
Brazil<br />
Keywords art education, perception,<br />
critical studies, built environment<br />
education, museum education<br />
› Learn<strong>in</strong>g <strong>in</strong> groups: the student experience <strong>in</strong> Postgraduate Diplomas of F<strong>in</strong>e<br />
Art, Art, Design & Communication <strong>in</strong> Higher Education, 6.2, 117-132.<br />
Victoria Vesna is an artist, professor and chair of the department of<br />
Design/Media <strong>Arts</strong> at the UCLA School of <strong>Arts</strong>. She is currently a<br />
Visit<strong>in</strong>g Professor and Director of Research at Parsons Art, Media and<br />
Technology, the New School for Design <strong>in</strong> New York and a senior<br />
<strong>research</strong>er at IMéRA – Institut Méditerranéen de Recherches Avancées<br />
<strong>in</strong> Marseille, France and Artist <strong>in</strong> Residence at the Institute of<br />
Advanced Studies, University of Bristol. Her work can be def<strong>in</strong>ed as<br />
experimental creative <strong>research</strong> that resides between discipl<strong>in</strong>es and<br />
technologies. With her <strong>in</strong>stallations she explores how communication<br />
technologies affect collective behavior and how perceptions of identity<br />
shift <strong>in</strong> relation to scientific <strong>in</strong>novation. Victoria has exhibited her<br />
work <strong>in</strong> over twenty solo exhibitions, more than seventy group shows,<br />
has been published <strong>in</strong> excess of twenty papers.<br />
› The Nanoneme Syndrome: Blurr<strong>in</strong>g of fact and fiction <strong>in</strong> the construction of<br />
a new science, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 1.1, 7-<br />
24.<br />
Rachel de Sousa Vianna is a lecturer at Universidade do Estado de<br />
M<strong>in</strong>as Gerais, <strong>in</strong> Brazil. She has a BA degree <strong>in</strong> Architecture and<br />
Urbanism from Universidade Federal de M<strong>in</strong>as Gerais, an MA <strong>in</strong> Art<br />
Education from The University of Texas, and a Ph.D. <strong>in</strong> Education<br />
from Universidade de São Paulo. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Built<br />
Environment Education, Critical Studies, Visual perception and Sociohistorical<br />
Theory applied to art education.<br />
› Development of visual perception and the role of ‘visual concepts’ <strong>in</strong> Critical<br />
Studies, International Journal of Education through Art, 5.1, 23-35.<br />
Judit Vidiella Judit Vidiella is a doctoral student and <strong>research</strong> assistant <strong>in</strong> F<strong>in</strong>e <strong>Arts</strong> at<br />
the University of Barcelona. She also teaches on a Masters course<br />
about Visual Culture Studies. She is participat<strong>in</strong>g <strong>in</strong> <strong>research</strong> projects<br />
be<strong>in</strong>g carried out at the Centre for Studies for Change <strong>in</strong> Culture and<br />
Education at the university; and the work of the Technologies of
Keywords body representation, visual<br />
culture, education, <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
Turlif Vilbrandt<br />
Digital Materialisation Lab,<br />
Fukushima, Aizu Wakamatsu, Izumi<br />
470, Japan<br />
Keywords function representation<br />
(FRep), boundary representation<br />
(BRep), HyperFun, Fab at Home<br />
(FaH), volumetric computation<br />
Carl Vilbrandt<br />
Digital Materialisation Lab,<br />
Fukushima, Aizu Wakamatsu, Izumi<br />
470, Japan<br />
Keywords function representation<br />
(FRep), boundary representation<br />
(BRep), HyperFun, Fab at Home<br />
(FaH), volumetric computation<br />
Gender group at the Museum of Contemporary Art <strong>who</strong> <strong>research</strong> issues<br />
of fem<strong>in</strong>ism, gender and identity politics, activism, sexualities, and<br />
post-pornography. She is a member of a performance group called<br />
Corpus Deleicti work<strong>in</strong>g on questions of embodiment, sexuality and<br />
power relations of representation.<br />
› Beyond Lucian Freud: Explor<strong>in</strong>g body representations <strong>in</strong> children's culture,<br />
International Journal of Education through Art, 2.2, 105-118.<br />
Turlif has been <strong>research</strong><strong>in</strong>g methods and processes to exactly describe<br />
(computationally capture) the complexity and quality of natural and<br />
real th<strong>in</strong>gs for twenty years. Turlif developed a generalized and holistic<br />
approach for accurately modell<strong>in</strong>g complex real world objects. He<br />
established one of the first (and still few) companies to eng<strong>in</strong>eer and<br />
apply this technology us<strong>in</strong>g personal computers. Currently, he is the<br />
co-founder of a newly formed start-up <strong>in</strong> Norway and a computerscience<br />
doctoral candidate <strong>in</strong> London. He also directs, manages and<br />
contributes to several <strong>in</strong>ternational free and open-source organizations<br />
and ongo<strong>in</strong>g projects <strong>in</strong>clud<strong>in</strong>g HyperFun.org and NextFab.org.<br />
› Fabricat<strong>in</strong>g Nature, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2,<br />
165-173.<br />
Carl Vilbrandt is a professor, f<strong>in</strong>e artist, aerospace eng<strong>in</strong>eer and<br />
computer scientist with a profound commitment to the understand<strong>in</strong>g<br />
of materials and processes and the freedom to be <strong>in</strong>novative. Carl<br />
specializes <strong>in</strong> three-dimensional spatial perception, understand<strong>in</strong>g<br />
materials and processes <strong>in</strong> the real world and their representation <strong>in</strong> the<br />
virtual world. Born <strong>in</strong> the United States, Carl’s <strong>research</strong> took him to<br />
Asia for over a decade and he is currently resid<strong>in</strong>g <strong>in</strong> the wilds of Chile<br />
work<strong>in</strong>g on bridg<strong>in</strong>g the gap between advanced manufactur<strong>in</strong>g<br />
technologies, rural communities and self-sufficient susta<strong>in</strong>able<br />
practices.<br />
› Fabricat<strong>in</strong>g Nature, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 7.2,<br />
165-173.
Mar<strong>in</strong>a Vishmidt<br />
Queen Mary University, School of<br />
Bus<strong>in</strong>ess and Management, 20<br />
Lansdowne Drive, London, E8 3EG,<br />
United K<strong>in</strong>gdom<br />
Keywords labour, capital, capitalism,<br />
Marx, fem<strong>in</strong>ism, materialism, f<strong>in</strong>ance,<br />
speculation, realism, critical,<br />
experimental, mov<strong>in</strong>g-image, value,<br />
avant-garde, politics<br />
Natasha Vita-More<br />
University of Plymouth<br />
Keywords biomedia, ethics and bias,<br />
future studies, NBIC technologies,<br />
transBioArt<br />
Frans Vogelaar<br />
Keywords urban, communication,<br />
Mar<strong>in</strong>a Vishmidt is a writer based <strong>in</strong> London concentrat<strong>in</strong>g on art and<br />
work. Currently conduct<strong>in</strong>g Ph.D. <strong>research</strong> at Queen Mary, University<br />
of London on 'Speculation as a Mode of Production <strong>in</strong> Art and Capital',<br />
recent <strong>research</strong> posts <strong>in</strong>clude a critic's residency at the FRAC Lorra<strong>in</strong>e<br />
and a fellowship at the Jan van Eyck Academie. She received her MA<br />
at the Middlesex Centre for Research <strong>in</strong> Modern European Philosophy<br />
<strong>in</strong> 2004. She has co-edited Uncorporate Identity (2010) with<br />
Metahaven, and Media Mutandis: Art, Technologies and Politics<br />
(2006). She has written for artists' publications <strong>in</strong>clud<strong>in</strong>g Ruth<br />
Buchanan, Chris Evans and Olivia Plender, and is a frequent<br />
contributor to catalogues, edited collections and journals such as Mute,<br />
Afterall, Texte zur Kunst, and Reartikulacija.<br />
› The cultural logic of criticality, Journal of Visual Art Practice, 7.3, 253-269.<br />
Natasha Vita-More is a Ph.D. candidate, Planetary Collegium and<br />
University of Plymouth. Her <strong>research</strong> concerns human enhancement<br />
and radical life extension. Vita-More’s design ‘Primo Posthuman’ has<br />
been featured <strong>in</strong> , LAWeekly, The New York Times, U.S. News & World<br />
Report, Net Bus<strong>in</strong>ess, Teleopolis and The Village Voice. She has<br />
appeared <strong>in</strong> over 24 televised documentaries on human enhancement<br />
and transhumanism, and is featured <strong>in</strong> 100 000 Ans de Beauté.<br />
Currently, Vita-More is a fellow at the Institute for Ethics and<br />
Emerg<strong>in</strong>g Technologies; a Visit<strong>in</strong>g Scholar at 21st Century Medic<strong>in</strong>e;<br />
and Advisor to the S<strong>in</strong>gularity University, the Board of Directors for<br />
Humanity Plus, the Scientific Board of the Lifeboat Foundation, the<br />
Alcor Foundation and Kenya SIYM International.<br />
› Brave BioArt 2: shedd<strong>in</strong>g the bio, amass<strong>in</strong>g the nano, and cultivat<strong>in</strong>g<br />
posthuman life, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 5.3,<br />
171-186.<br />
› Aesthetics of the radically enhanced human, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 8.2, 207-214.<br />
› Epoch of plasticity: The metaverse as a vehicle for cognitive enhancement,<br />
Metaverse Creativity, 1.1, 69-80.<br />
Frans Vogelaar is Founder of Hybrid Space Lab (Amsterdam/Berl<strong>in</strong>), a<br />
r&d and design practice focus<strong>in</strong>g on the hybrid fields that are emerg<strong>in</strong>g<br />
through the comb<strong>in</strong>ation and fusion of environments, objects and<br />
services <strong>in</strong> the <strong>in</strong>formation/communication age. Professor of Hybrid<br />
Space at the Academy of Media <strong>Arts</strong> Cologne and consultant to the<br />
Dutch government on 'the use of space <strong>in</strong> the
global <strong>in</strong>formation/communication age'. He studied <strong>in</strong>dustrial design at the<br />
Design Academy <strong>in</strong> E<strong>in</strong>dhoven and architecture and urbanism at the<br />
Architectural Association School of Architecture (AA) <strong>in</strong> London. He<br />
worked at the architectural and design office Studio Alchymia<br />
(Allessandro Mend<strong>in</strong>i) <strong>in</strong> Milan and at the Office for Metropolitan<br />
Architecture (OMA/Koolhaas) <strong>in</strong> Rotterdam.<br />
Anne Car<strong>in</strong>a Völkel<br />
Keywords<br />
Otto von Busch<br />
University of Gothenburg, School of<br />
Design and Craft, Box 131,<br />
Gothenburg, 40530, Sweden<br />
Keywords counterfeit crochet, craft<br />
exhibition, DIY culture, net politics,<br />
crafts<br />
Tim Vorley<br />
University of Leicester, Department<br />
of Geography, University Road,<br />
› IDENSITY(r): urbanism <strong>in</strong> the communication age, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 1.1, 69-76.<br />
Anne Car<strong>in</strong>a Völkel is an architect and member of rakete-n-tur, a<br />
platform for multidiscipl<strong>in</strong>ary collaboration <strong>in</strong> architecture, technology<br />
and art, based <strong>in</strong> London and Germany. After study<strong>in</strong>g architecture at<br />
the UoAS Trier, Germany (2006), she has been awarded several prizes<br />
<strong>in</strong>clud<strong>in</strong>g a scholarship from the German Academic Exchange Service.<br />
Most recently she received a Master of Architecture with dist<strong>in</strong>ction<br />
from the Bartlett, University College London.<br />
› Project Profiles, Design Ecologies, 1.2, 307-321.<br />
Dr. Otto von Busch is a haute couture heretic and DIY-demagogue, but<br />
also <strong>research</strong>er at the School of Design and Craft, University of<br />
Gothenburg. In his <strong>research</strong> he explores the emergence of a new<br />
‘hacktivist’ designer role <strong>in</strong> fashion and the crafts; here designers and<br />
participants collaborate to reform fashion from a phenomenon of<br />
dictations and anxiety to a collective experience of empowerment by<br />
distribut<strong>in</strong>g agency throughout the system. In other words, it is an<br />
approach where designers strive to make participants become fashionable.<br />
› Explor<strong>in</strong>g net political craft: From collective to connective, Craft Research,<br />
1.1, 113-124.<br />
Dr. Tim Vorley is a University Lecturer <strong>in</strong> Economic Geography at the<br />
University of Cambridge. The focus of Tim’s <strong>research</strong> is the<br />
Geography of Higher Education <strong>in</strong> the United K<strong>in</strong>gdom and Europe,<br />
with a specific focus on academic entrepreneurship and knowledge/
Leicester, LE1 7RH, United K<strong>in</strong>gdom<br />
Keywords academic<br />
entrepreneurship, knowledge transfer,<br />
higher education, <strong>in</strong>novator<br />
companies<br />
David Walker Barker<br />
University of Leeds, Department of<br />
Contemporary Art Practice, 96 St<br />
Helen's Street, Elsecar, South<br />
Yorkshire, S74 8BQ, United<br />
K<strong>in</strong>gdom<br />
Keywords human histories, geology,<br />
m<strong>in</strong>eralization, landscape,<br />
convergence<br />
Les Walkl<strong>in</strong>g<br />
RMIT University, Melbourne, School<br />
of Art, College of Design and Social<br />
Context, RMIT University, GPO Box<br />
2476, Melbourne VIC 3001, Australia<br />
Keywords<br />
technology transfer. His other <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude <strong>in</strong>novation and<br />
entrepreneurship <strong>in</strong> high-tech nascent markets and <strong>in</strong>novator<br />
companies.<br />
› Realiz<strong>in</strong>g capabilities – academic creativity and the creative <strong>in</strong>dustries,<br />
Creative Industries Journal, 1.2, 137-150.<br />
› Structured Creativity: Formulat<strong>in</strong>g an Innovation Strategy,Tim Sauber and<br />
Hugo Tschirky (2005), Creative Industries Journal, 1.2, 197-201.<br />
David Walker Barker is an artist and collector with a long-stand<strong>in</strong>g<br />
<strong>in</strong>terest <strong>in</strong> landscape environments. He is a lecturer <strong>in</strong> the School of<br />
Design at the University of Leeds, and exhibits both nationally and<br />
<strong>in</strong>ternationally. His artwork and associated <strong>research</strong> is concerned with<br />
diverse aspects of landscape environments and has developed, <strong>in</strong> part,<br />
through fieldwork carried out at a variety of locations. Interest <strong>in</strong><br />
aspects of geology and landscape evolution developed whilst at the<br />
Royal College of Art and has cont<strong>in</strong>ued as a significant preoccupation<br />
provid<strong>in</strong>g reference po<strong>in</strong>ts for a range of artworks <strong>in</strong>clud<strong>in</strong>g pa<strong>in</strong>t<strong>in</strong>gs,<br />
draw<strong>in</strong>gs, pa<strong>in</strong>ted constructions and cab<strong>in</strong>ets. These identify a<br />
fasc<strong>in</strong>ation for land surface and the structural complexity of geological<br />
contexts, associated processes and their concealed dimensions. A<br />
central focus relates to the <strong>in</strong>tersection of geological and human<br />
histories and their <strong>in</strong>dustrial and cultural impact upon landscape forms.<br />
› Realities and histories: 'In search of a hidden landscape', Journal of Visual<br />
Art Practice, 5.1, 5-20.<br />
Dr Les Walkl<strong>in</strong>g is an artist, educator and consultant. He was formerly<br />
Director of Media <strong>Arts</strong> and is now a Senior Research Fellow at RMIT<br />
University, Melbourne. His works are <strong>in</strong> the collections of the Centre<br />
for Creative Photography, Arizona; the Metropolitan Museum of Art,<br />
New York; and the national galleries of Australia and Victoria.<br />
› Reflections on medium specificity occasioned by the symposium 'Digital<br />
Light: Technique, Technology, Creation', Melbourne, 2011, Mov<strong>in</strong>g Image<br />
Review & Art Journal MIRAJ, 1.1, 37-49.
Aylwyn Walsh<br />
University of Northampton,<br />
Department of Performance Studies,<br />
Avenue Campus, St. Georges<br />
Avenue, Northampton, NN2 6JD,<br />
United K<strong>in</strong>gdom<br />
Keywords women <strong>in</strong> prison, theatre<br />
practice<br />
Maria Walsh<br />
University of the <strong>Arts</strong> London<br />
Keywords<br />
Shei-chau Wang<br />
United K<strong>in</strong>gdom<br />
Keywords book-mak<strong>in</strong>g, teach<strong>in</strong>g,<br />
visual culture, college students<br />
ShiPu Wang<br />
University of California, Merced,<br />
School of Social Sciences,<br />
Humanities and <strong>Arts</strong>, SSHA, 5200<br />
North Lake Road, Merced, CA,<br />
Aylwyn Walsh is currently undertak<strong>in</strong>g Ph.D. at the University of<br />
Northampton, titled ‘Perform<strong>in</strong>g (for) survival’, focus<strong>in</strong>g on women <strong>in</strong><br />
prison. She is artistic director of M<strong>in</strong>istry of Untold Stories, us<strong>in</strong>g<br />
<strong>research</strong> and theatre practice <strong>in</strong> dialogue.<br />
› Pa<strong>in</strong>t<strong>in</strong>g human rights: Mapp<strong>in</strong>g street art <strong>in</strong> Athens, Journal of <strong>Arts</strong> &<br />
Communities, 2.2, 111-122.<br />
Maria Walsh is Theory Leader of the BA F<strong>in</strong>e Art course at Chelsea<br />
College of Art & Design. She has published essays on artists' film<br />
<strong>in</strong>stallation and c<strong>in</strong>ema <strong>in</strong> journals <strong>in</strong>clud<strong>in</strong>g Screen, Angelaki,<br />
Rhizomes, Senses of C<strong>in</strong>ema and Refactory. She has contributed<br />
chapters to a number of books <strong>in</strong>clud<strong>in</strong>g Screen/Space: The Projected<br />
Image <strong>in</strong> Contemporary Art (Manchester University Press, 2011). She<br />
is a regular contributor to Art Monthly and is currently <strong>research</strong><strong>in</strong>g<br />
screen/spectator <strong>in</strong>tersubjectivity.<br />
› Re-enact<strong>in</strong>g c<strong>in</strong>ema at the crossroads: Nicky Coutts's Pass<strong>in</strong>g Place, Mov<strong>in</strong>g<br />
Image Review & Art Journal MIRAJ, 1.1, 69-77.<br />
Shei-chau Wang is Associate Professor of Art Education at Northern<br />
Ill<strong>in</strong>ois University, DeKalb, Ill<strong>in</strong>ois, United States. His <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude teach<strong>in</strong>g visual culture at the college level, e-learn<strong>in</strong>g<br />
<strong>in</strong> art and design, and electronic portfolio development and assessment.<br />
He has published articles <strong>in</strong> both English and Ch<strong>in</strong>ese and presented<br />
numerous papers at both national and <strong>in</strong>ternational conferences.<br />
› Contextualiz<strong>in</strong>g mean<strong>in</strong>gs as personal cultural <strong>in</strong>quiry: A book-mak<strong>in</strong>g<br />
project, International Journal of Education through Art, 5.1, 75-92.<br />
Dr. ShiPu Wang is an art historian and assistant professor <strong>in</strong> the School<br />
of Social Sciences, Humanities and <strong>Arts</strong>, University of California,<br />
Merced, United States. He teaches global arts and visual culture<br />
surveys and sem<strong>in</strong>ars on American art, <strong>in</strong> addition to a photography<br />
history and practice course. Wang’s <strong>research</strong> and scholarship focus on<br />
rediscover<strong>in</strong>g the diverse body of work by émigré Asian and Asian
95343, United States of America<br />
Keywords photography, art history,<br />
teach<strong>in</strong>g, <strong>in</strong>tegrated curricula<br />
Wenchun Wang<br />
Independent Scholar, Department of<br />
F<strong>in</strong>e <strong>Arts</strong> at National Taiwan Normal<br />
University, 2-42-1 Toyosatodai,<br />
Utsunomiya-shi, 320-0003, Japan<br />
Keywords understand<strong>in</strong>g art,<br />
repertoires, developmental theory, art<br />
appreciation, appreciation skills<br />
Jen Webb<br />
University of Canberra, Faculty of<br />
<strong>Arts</strong> and Design, Australia<br />
Keywords artist book, rhizome,<br />
object relations, fetish object,<br />
performative<br />
American artists <strong>who</strong> contributed to many vanguard artist groups as<br />
prom<strong>in</strong>ent members <strong>in</strong> pre-war American art. His forthcom<strong>in</strong>g book,<br />
Becom<strong>in</strong>g American? The Art and Identity Crisis of Yasuo Kuniyoshi<br />
(University of Hawaii Press), presents an <strong>in</strong>-depth critical re-evaluation<br />
of the artistic production of Yasuo Kuniyoshi (1889–1953), a<br />
prom<strong>in</strong>ent American artist of Japanese descent, <strong>in</strong> the pivotal decades<br />
preced<strong>in</strong>g and follow<strong>in</strong>g Pearl Harbor and explores ways <strong>in</strong> which his<br />
work <strong>in</strong>terrogates issues of race, diasporas and nationalism <strong>in</strong><br />
American art.<br />
› The effect<strong>in</strong>g eye: An <strong>in</strong>tegrated approach to teach<strong>in</strong>g history of<br />
photography, International Journal of Education through Art, 5.2&3, 213-<br />
227.<br />
Dr. Wenchun Wang is a graduate <strong>in</strong> the Department of F<strong>in</strong>e <strong>Arts</strong> at<br />
National Taiwan Normal University and has completed her Ph.D.<br />
thesis at University of Tsukuba. She is past Visit<strong>in</strong>g Scholar <strong>in</strong> the<br />
Department of Art Education at the Ohio State University and past<br />
Coord<strong>in</strong>ator of Invited Sem<strong>in</strong>ar Japan of the 31st InSEA World<br />
Congress <strong>in</strong> New York. Her publications <strong>in</strong>clude articles <strong>in</strong> the Studies<br />
<strong>in</strong> Art Education 43: 4 and Journal of Aesthetic Education 37: 4.<br />
› Consider<strong>in</strong>g the framework of art appreciation repertoires, International<br />
Journal of Education through Art, 6.3, 327-341.<br />
Jen Webb is Professor of Creative Practice at the University of<br />
Canberra and comb<strong>in</strong>es cultural theory and creative writ<strong>in</strong>g with the<br />
production of handmade books. Her most recent academic work was<br />
Understand<strong>in</strong>g Representation (Sage, 2009), and she is currently<br />
writ<strong>in</strong>g a book on theories of embodiment and complet<strong>in</strong>g a novel that<br />
extends the myth of Icarus. Her <strong>research</strong> <strong>in</strong>vestigates representations of<br />
critical global events, and the use of <strong>research</strong> <strong>in</strong> and through creative<br />
practice to generate new knowledge about human rights. Jen is coeditor<br />
of TEXT: Journal of Writ<strong>in</strong>g and Writ<strong>in</strong>g Courses.<br />
› The book objects: writ<strong>in</strong>g and performance, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative<br />
Practice, 2.1, 27-44.
Helena Webster<br />
Oxford Brookes University,<br />
Department of Architecture,<br />
Head<strong>in</strong>gton, Oxford, Oxfordshire,<br />
OX3 0BP, United K<strong>in</strong>gdom<br />
Keywords design project, reflective<br />
learn<strong>in</strong>g, tutor-student relationship,<br />
Design Jury, Michael Foucault, power<br />
Hannele Weir<br />
City University London, Department<br />
of Interdiscipl<strong>in</strong>ary Studies <strong>in</strong><br />
Professional Practice, School of<br />
Community and Health Sciences,<br />
Northampton Square, London, EC1V<br />
0HB, United K<strong>in</strong>gdom<br />
Keywords art, violence, learn<strong>in</strong>g,<br />
practice, museum<br />
Monika Weiss<br />
Keywords draw<strong>in</strong>g, video,<br />
performance, time paths, trace<br />
Helena Webster is an architect and Reader at Oxford Brookes<br />
University. Her current <strong>research</strong> focuses on Holocaust Memorials and<br />
architectural education, for which she was awarded a National<br />
Teach<strong>in</strong>g Fellowship <strong>in</strong> 2005. Her publications <strong>in</strong>clude The Analytics<br />
of Power: Re-present<strong>in</strong>g the design jury (, February 2007) and<br />
Architecture without Rhetoric: essays on the work of Alison and Peter<br />
Smithson (1997) and most recently Bourdieu for Architects (Routledge,<br />
2011).<br />
› Facilitat<strong>in</strong>g critically reflective learn<strong>in</strong>g: excavat<strong>in</strong>g the role of the design<br />
tutor <strong>in</strong> architectural education, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 2.3, 101-112.<br />
› A Foucauldian look at the Design Jury, Art, Design & Communication <strong>in</strong><br />
Higher Education, 5.1, 5-20.<br />
Hannele Weir is a Lecturer <strong>in</strong> Applied Sociology, <strong>in</strong> the Department of<br />
Interdiscipl<strong>in</strong>ary Studies <strong>in</strong> Professional Practice, School of<br />
Community and Health Sciences at City University London. She is<br />
currently <strong>in</strong>volved <strong>in</strong> a <strong>research</strong> project on Art, social <strong>in</strong>clusion and the<br />
Community Programme at Tate Modern.<br />
› You don’t have to like them: Art, Tate Modern and learn<strong>in</strong>g, Journal of<br />
Applied <strong>Arts</strong> & Health, 1.1, 93-110.<br />
Based <strong>in</strong> New York City, Polish-American artist Monika Weiss creates<br />
environments that explore the body as cultural and physical signifier, <strong>in</strong><br />
the context of historical and <strong>in</strong>dividual memory. 'Much of her work to<br />
date is structured as a remarkable, <strong>in</strong>dividual counterpo<strong>in</strong>t between<br />
technological media (video projection) and the ancient activity of<br />
draw<strong>in</strong>g, which is presented <strong>in</strong> a primal state <strong>in</strong>separable from the body<br />
as a <strong>who</strong>le.' (Guy Brett, London, 2007). In 2005 the artist's first partial<br />
retrospective exhibition was on view at the Lehman College Art<br />
Gallery, The City University of New York, followed by the publication<br />
of a monographic survey catalogue and a New York Times review.<br />
› Anamnesis (Swiatlo Dnia), Technoetic <strong>Arts</strong>: A Journal of Speculative<br />
Research, 4.2, 79-88.
Claudia Westermann<br />
Laboratory for Inhabitable Theories<br />
and Research <strong>in</strong> Architecture<br />
Keywords<br />
Nigel Wheale<br />
Keywords<br />
Paul<strong>in</strong>e White<br />
Western Development Commission,<br />
Policy<br />
Keywords policy, quality of life,<br />
western region of Ireland, rural<br />
regions, creative <strong>in</strong>dustries<br />
Duncan White<br />
University of the <strong>Arts</strong>, London,<br />
Claudia Westermann is a licensed architect hold<strong>in</strong>g a postgraduate<br />
degree <strong>in</strong> Architecture from the University of Karlsruhe (Dipl. Ing.), a<br />
second postgraduate degree <strong>in</strong> Media F<strong>in</strong>e <strong>Arts</strong> from the University of<br />
Art and Design (HfG) at the Center for Art and Media (ZKM) <strong>in</strong><br />
Karlsruhe, Germany, and a PhD from the University of Plymouth,<br />
UK.Her Ph.D. thesis entitled 'An experimental <strong>research</strong> <strong>in</strong>to <strong>in</strong>habitable<br />
theories' was supervised by Professor Roy Ascott. Her works have been<br />
exhibited <strong>in</strong>ternationally, <strong>in</strong>clud<strong>in</strong>g at the Venice Biennale for<br />
Architecture, the Moscow International Film Festival, ISEA<br />
Symposium for the Electronic <strong>Arts</strong> <strong>in</strong> Japan, and the ZKM <strong>in</strong><br />
Karlsruhe. Publications <strong>in</strong>clude `The Architect's Circle, or The<br />
Geometrical Incl<strong>in</strong>e of Truth' <strong>in</strong> New Realities: Be<strong>in</strong>g Syncretic<br />
(Spr<strong>in</strong>ger, 2008), and `An Entry without Inscription, a Letter, and a<br />
Map' <strong>in</strong> Orientation _ Dis-/Orientation (Lars Müller, 2009).<br />
› Myths of complexity, Design Ecologies, 1.2, 267-284.<br />
› REVIEWS, Book 2.0, 1.1, 75-86.<br />
Paul<strong>in</strong>e White is a Policy Analyst with the Western Development<br />
Commission <strong>in</strong> Ireland (www.wdc.ie). She has been <strong>in</strong>volved <strong>in</strong> the<br />
analysis of, and published a number of reports on, labour market, rural<br />
enterprise, regional development and <strong>in</strong>frastructural issues <strong>in</strong> the<br />
Western Region. She oversaw the basel<strong>in</strong>e <strong>research</strong> on the creative<br />
sector <strong>in</strong> the Western Region, and wrote the WDC report 'Creative<br />
West: The Creative Sector <strong>in</strong> the Western Region' (WDC 2009a).<br />
› Creative <strong>in</strong>dustries <strong>in</strong> a rural region: Creative West: The creative sector <strong>in</strong> the<br />
Western Region of Ireland, Creative Industries Journal, 3.1, 79-88.<br />
Duncan White is a <strong>research</strong> fellow at Central St Mart<strong>in</strong>s College Art<br />
and Design, University of the <strong>Arts</strong> London. He is the lead author and<br />
co-editor of Expanded C<strong>in</strong>ema: Art Performance Film (Tate Publish<strong>in</strong>g
Central St. Mart<strong>in</strong>s College of Art &<br />
Design<br />
Keywords expanded c<strong>in</strong>ema,<br />
performance, video, production,<br />
reception, writ<strong>in</strong>g<br />
Mike White<br />
St. Chad’s College, University of<br />
Durham, 18 North Bailey, Durham,<br />
DH1 3RH, United K<strong>in</strong>gdom<br />
Keywords consultation, practice,<br />
participation, art, health<br />
Derek Whitehead<br />
Keywords f<strong>in</strong>e arts curriculum, visual<br />
arts philosophy, John Dewey, Lev<br />
Vygotsky, aletheic imag<strong>in</strong>ation<br />
2011). Current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude film and media experiments,<br />
poetry, art and performance.<br />
› Unnatural fact: the fictions of Robert Smithson, Journal of Writ<strong>in</strong>g <strong>in</strong><br />
Creative Practice, 1.2, 161-175.<br />
Mike White is a Senior Research Fellow at the Centre for Medical<br />
Humanities and St. Chad’s College, University of Durham, United<br />
K<strong>in</strong>gdom. His work for the centre has <strong>in</strong>cluded workforce development<br />
programmes <strong>in</strong> arts-<strong>in</strong>-health, project-based evaluations, and audits and<br />
literature reviews of arts-<strong>in</strong>-health for government agencies. In 2005 he<br />
was awarded a fellowship of the UK’s National Endowment for<br />
Science, Technology and the <strong>Arts</strong> to <strong>research</strong> community-based arts <strong>in</strong><br />
health and to build both national and <strong>in</strong>ternational l<strong>in</strong>ks <strong>in</strong> this field.<br />
Radcliffe, Oxford, published the result<strong>in</strong>g book, <strong>Arts</strong> Development <strong>in</strong><br />
Community Health – ocial Tonic, <strong>in</strong> 2009.<br />
› Develop<strong>in</strong>g guidel<strong>in</strong>es for good practice <strong>in</strong> participatory arts-<strong>in</strong>-health-care<br />
contexts, Journal of Applied <strong>Arts</strong> & Health, 1.2, 139-155.<br />
Derek Whitehead has a background <strong>in</strong> the visual arts, Classical<br />
languages, and Cont<strong>in</strong>ental philosophy. He holds a Ph.D. from Sydney<br />
University specializ<strong>in</strong>g <strong>in</strong> cross-discipl<strong>in</strong>ary <strong>research</strong>: f<strong>in</strong>e arts,<br />
aesthetics, and pedagogy, and has taught at the secondary, tertiary, and<br />
adult education levels. He is an <strong>in</strong>dependent <strong>research</strong>er, writer and<br />
teacher <strong>in</strong> the areas of aesthetics, aesthetic education, and vary<strong>in</strong>g<br />
themes <strong>in</strong> art <strong>research</strong> from historical and contemporary perspectives,<br />
and has published <strong>in</strong> respected journals <strong>in</strong> Australia, United States, and<br />
United K<strong>in</strong>gdom. He is a practic<strong>in</strong>g visual artist, with work <strong>in</strong> private<br />
collections <strong>in</strong> Australia and overseas, and is represented by Rex-<br />
Liv<strong>in</strong>gston Art Dealer, Surry Hills, Sydney, Australia.<br />
› The pedagogical aesthetic and formative experience: educat<strong>in</strong>g for aletheic<br />
imag<strong>in</strong>ation <strong>in</strong> the f<strong>in</strong>e arts curriculum, Journal of Visual Art Practice, 3.3,<br />
195-208.<br />
Nigel Whiteley Nigel Whiteley, a cultural historian, is Professor of Visual <strong>Arts</strong> <strong>in</strong> the
Lancaster University, Tatham House,<br />
Burton <strong>in</strong> Lonsdale, via Carnforth,<br />
Lancs, LA6 3LF, United K<strong>in</strong>gdom<br />
Keywords art history, creative<br />
process, visual <strong>in</strong>telligence<br />
Paul Whittaker<br />
Keywords <strong>in</strong>novation, creative,<br />
design, technology, lasers<br />
Jessica Whyte<br />
Monash University, Department of<br />
the Faculty of Art & Design, 900<br />
Dandenong Road, Caulfield East,<br />
Victoria, 3145, Australia<br />
Keywords civil contract of<br />
photography, Ariella Azoulay,<br />
surveillance, terrorism, photography<br />
restrictions<br />
Lancaster Institute for the Contemporary <strong>Arts</strong> at Lancaster University.<br />
He has been a visit<strong>in</strong>g professor <strong>in</strong> India and Ch<strong>in</strong>a, and lectured<br />
widely <strong>in</strong> the United States and Europe. His most recent book is the<br />
critically acclaimed Reyner Banham: Historian of the Immediate<br />
Future (MIT, 2002), and other solo books <strong>in</strong>clude Design For Society<br />
(Reaktion, 1993, regularly repr<strong>in</strong>ted), and Pop Design – Modernism to<br />
Mod (Design Council, 1987). Whiteley is editor of De-<br />
Traditionalisation and Art: Aesthetic, Authority, Authenticity<br />
(Middlesex University Press, 2000). He has had essays published <strong>in</strong><br />
journals such as Visible Language, Art History, The Oxford Art<br />
Journal, Artforum, the Journal of,<br />
› See<strong>in</strong>g what, how and why: the ARTnews series, 1953–58, Journal of Visual<br />
Art Practice, 6.3, 215-228.<br />
Dr. Paul Whittaker is senior lecturer and Director of Education at the<br />
University of Southampton, W<strong>in</strong>chester School of Art. He has<br />
exhibited nationally and <strong>in</strong>ternationally, led <strong>research</strong> sem<strong>in</strong>ars on<br />
European identity and difference at the University of Massachusetts<br />
and published papers for <strong>research</strong> conferences and the Higher<br />
Education Academy. His <strong>research</strong> <strong>in</strong>terests centre on promot<strong>in</strong>g<br />
<strong>in</strong>novation through the reconsideration of established practices by way<br />
of unconventional means, and experimentation and speculation<br />
regard<strong>in</strong>g temporality and time <strong>in</strong> the creative process. Paul is currently<br />
lead academic on a European Union funded, <strong>in</strong>terdiscipl<strong>in</strong>ary design<br />
project that <strong>in</strong>volves six European partners <strong>in</strong> the digital<br />
re<strong>in</strong>terpretation of historical textiles.<br />
› Jakob Schlaepfer: A case study <strong>in</strong> laser <strong>in</strong>novation and the unexpected, Craft<br />
Research, 1.1, 125-132.<br />
Dr. Jessica Whyte completed a doctoral thesis on the political thought<br />
of Giorgio Agamben at the Centre for Comparative Literature and<br />
Cultural Studies, Monash University <strong>in</strong> 2010. She is the co-editor of<br />
the Theory and Event special issue ‘Form of Life: Giorgio Agamben,<br />
Ontology and Politics’ (2010), and The Agamben Dictionary<br />
(Ed<strong>in</strong>burgh University Press, 2011). She is currently a <strong>research</strong><br />
assistant <strong>in</strong> the Faculty of Art & Design, Monash University.<br />
› No Credible Photographic Interest: Photography restrictions and surveillance<br />
<strong>in</strong> a time of terror, Philosophy of Photography, 1.2, 177-195.
Dietmar Wiegand<br />
Keywords network development,<br />
creative networks, regional<br />
development, cultural economy,<br />
culture tourism <strong>in</strong> rural areas<br />
Anthony Williams<br />
University of Newcastle, Faculty of<br />
Eng<strong>in</strong>eeer<strong>in</strong>g and Build Environment,<br />
University Drive, Callaghan, New<br />
South Wales, 2308, Australia<br />
Keywords assessment, creativity,<br />
quality assurance, th<strong>in</strong>k<strong>in</strong>g<br />
Ian Williams<br />
Graphicmedic<strong>in</strong>e.org, Hafoty Lwyd,<br />
Llanrhaeadr, Denbigh, Denbighshire,<br />
LL16 4PH, United K<strong>in</strong>gdom<br />
Keywords comics, graphic novels,<br />
medic<strong>in</strong>e, graphic medic<strong>in</strong>e<br />
Professor Dipl.-Ing. Dietmar Wiegand: Architect, head of division Real<br />
Estate Development and Management at Vienna University of<br />
Technology. Research of the division focuses on appropriate players<br />
and organizations for projects aim<strong>in</strong>g at urban and regional<br />
development, and on the life cycle of the built environment and<br />
organizations.<br />
› From culture to cultural economic power: Rural regional development <strong>in</strong><br />
small German communities, Creative Industries Journal, 3.1, 89-96.<br />
Anthony Williams is Assistant Dean for Teach<strong>in</strong>g and Learn<strong>in</strong>g of the<br />
Faculty of Eng<strong>in</strong>eer<strong>in</strong>g and Built Environment. He teaches design and<br />
has previously taught art and design at university level (Australian<br />
Catholic University) and art at high school level. Williams is a w<strong>in</strong>ner<br />
of both University and National Awards for Teach<strong>in</strong>g Excellence and<br />
has worked extensively <strong>in</strong> curriculum design and implementation at<br />
both program and course levels. He is highly regarded <strong>in</strong> this area<br />
hav<strong>in</strong>g worked as a curriculum consultant nationally (QUT & Edith<br />
Cowan) and <strong>in</strong>ternationally (AIIAS Philipp<strong>in</strong>es & Poly U Hong Kong).<br />
His <strong>research</strong>, <strong>in</strong>clud<strong>in</strong>g Ph.D., is <strong>in</strong> the field of design methodology,<br />
specifically <strong>in</strong> skills profil<strong>in</strong>g for effective participation <strong>in</strong> design<br />
collaboration. A recently completed CRC project on ‘Core Skills for<br />
Participation <strong>in</strong> Virtual Design Teams’ has cont<strong>in</strong>ued this l<strong>in</strong>e of<br />
<strong>research</strong>.<br />
› Assess<strong>in</strong>g creativity <strong>in</strong> the creative arts, Art, Design & Communication <strong>in</strong><br />
Higher Education, 5.2, 97-118.<br />
Ian Williams is an ex General Practitioner, a visual artist andmedical<br />
humanities scholar, now work<strong>in</strong>g as a comics artist and illustrator<br />
under the nom-de plume 'Thom Ferrier'. He writes about the <strong>in</strong>terface<br />
between comics and medic<strong>in</strong>e under his real name and runs the website<br />
GraphicMedic<strong>in</strong>e.org<br />
› Reviews, Studies <strong>in</strong> Comics, 1.2, 379-403.
Aust<strong>in</strong> Williams<br />
Xi’an Jiaotong-Liverpool University<br />
Keywords<br />
Elizabeth Anne Williams<br />
Keywords<br />
Steve Willis<br />
Missouri State University, Associate<br />
Professor of Art Education, Missouri<br />
State University, 901 South National<br />
Avenue, Spr<strong>in</strong>gfield, MO 65879,<br />
United States of America<br />
Keywords cloth<strong>in</strong>g, food, Korean<br />
Ancestor Worship service, Native<br />
American Sweat Lodge, <strong>in</strong>tercultural<br />
learn<strong>in</strong>g<br />
Robert Wilsmore<br />
York St John University, Lord<br />
Mayor’s Walk, York, YO31 7EX,<br />
United K<strong>in</strong>gdom<br />
Aust<strong>in</strong> Williams is the director of the Future Cities Project and a<br />
lecturer <strong>in</strong> Architecture at Xi'an Jiaotong-Liverpool University,<br />
Suzhou, Ch<strong>in</strong>a. He was previously the technical editor at the Architects'<br />
Journal and transport correspondent with the Daily Telegraph. He<br />
convenes the Bookshop Barnies and was the founder of<br />
mantownhuman and the 'Critical Subjects' Architecture & Design<br />
W<strong>in</strong>ter School. He is an <strong>in</strong>dependent film-maker, writer and illustrator,<br />
and author of The Enemies of Progress, and co-editor of The Lure of<br />
the City: From Slums to Suburbs.<br />
› Fashionable dilemmas, Critical Studies <strong>in</strong> Fashion & Beauty, 2.1-2, 69-82.<br />
Elizabeth Anne Williams recently completed her Masters <strong>in</strong><br />
Architectural Design with Merit from the Bartlett <strong>in</strong> London.<br />
Orig<strong>in</strong>ally from New Orleans, Louisiana, she hopes to cont<strong>in</strong>ue f<strong>in</strong>d<strong>in</strong>g<br />
pleasu re <strong>in</strong> flirt<strong>in</strong>g with the conf<strong>in</strong>es of traditional architectural<br />
paradigms. She was able to beg<strong>in</strong> <strong>in</strong>terrogat<strong>in</strong>g these ideas while<br />
complet<strong>in</strong>g her Bachelor of Architecture at Louisiana State University.<br />
› Project Profiles, Design Ecologies, 1.2, 307-321.<br />
Steve Willis is an Associate Professor of Art Education at Missouri<br />
State University <strong>in</strong> Spr<strong>in</strong>gfield. His <strong>in</strong>terests <strong>in</strong>clude Native American<br />
practices, arts assessment, service learn<strong>in</strong>g and community<br />
engagement, and spirituality <strong>in</strong> art. Steve is an enrolled member of the<br />
Cherokee of Western Missouri.<br />
› An <strong>in</strong>tercultural learn<strong>in</strong>g of similarities and differences of rituals and<br />
customs of two cultures, International Journal of Education through Art, 6.3,<br />
361-380.<br />
Dr. Robert Wilsmore is Head of Creative Practice <strong>in</strong> the Faculty of<br />
<strong>Arts</strong> at York St John University. His <strong>research</strong> engages with<br />
performance, composition, musicology, collaboration and pedagogy.<br />
Recent publications <strong>in</strong>clude articles on prog rock group 'Yes' for<br />
Routledge journal Parallax (issue 56, 2010) and a chapter <strong>in</strong>
Keywords collaboration, Goat Island,<br />
performance<br />
Brent Wilson<br />
Keywords biographical <strong>in</strong>quiry,<br />
ethnographical <strong>in</strong>quiry, <strong>in</strong>formal<br />
curriculum, qualitative <strong>research</strong>, thirdsite<br />
pedagogy<br />
Mick Wilson<br />
Dubl<strong>in</strong> Institute of Technology, Head<br />
of F<strong>in</strong>e Art, 143-149 Rathm<strong>in</strong>es<br />
Road, Dubl<strong>in</strong> 6, Ireland<br />
Keywords artist, writer, curat<strong>in</strong>g,<br />
education<br />
Nick Wilson<br />
K<strong>in</strong>g’s College London, Centre for<br />
Culture, Media & Creative Industries,<br />
Kraftwerk: Music Non-Stop for Cont<strong>in</strong>uum Books (2011) jo<strong>in</strong>t<br />
authored with Simon Piasecki.<br />
› The Last Performance [dot org]: an impossible collaboration, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 2.1, 15-25.<br />
Brent Wilson is emeritus professor of art education at the Pennsylvania<br />
State University, School of Visual <strong>Arts</strong>. His <strong>research</strong> areas <strong>in</strong>clude the<br />
cultural <strong>in</strong>fluences on children’s draw<strong>in</strong>gs, children’s graphic<br />
narratives, pedagogical theory, and theories of <strong>in</strong>terpretation. His artistbooks<br />
were exhibited most recently at the Pearl Street Gallery <strong>in</strong> New<br />
York City.<br />
› Research at The Marg<strong>in</strong>s of School<strong>in</strong>g: Biographical Inquiry and Third-Site<br />
Pedagogy, International Journal of Education through Art, 4.2, 119-130.<br />
Mick Wilson is an artist, writer and educator. He is Head of F<strong>in</strong>e Art at<br />
DIT. From the mid-1990s to 2000, he produced a series of one-person<br />
shows and projects <strong>in</strong>clud<strong>in</strong>g: Tra<strong>in</strong>s Made Mary Vague, Temple Bar<br />
Gallery & Studios (2000); The Tuileries Incident, Hugh Lane Gallery,<br />
Dubl<strong>in</strong> (1999); The Medium’s Project, Temple Bar/various (1998);<br />
Athman Ben Salah: On Loss, Triskel, Cork (1997). He returned to artmak<strong>in</strong>g,<br />
after a break of several years, with his participation <strong>in</strong> the<br />
group exhibitions Float (2007) New York curated by Sara Reisman;<br />
and Blackbox<strong>in</strong>g (2007) curated by Tessa Gibl<strong>in</strong> at the Project <strong>Arts</strong><br />
Centre, Dubl<strong>in</strong>; and Coalesce: Happenstance (2009) curated by Paul<br />
O’Neill at SmartProject Space, Amsterdam.<br />
› Curatorial counter-rhetorics and the educational turn, Journal of Visual Art<br />
Practice, 9.2, 177-193.<br />
› Retro-Spective: ‘Places with a Past’ – New site-specific art <strong>in</strong> Charleston,<br />
Spoleto Festival USA, 1991, Art & the Public Sphere, 1.1, 55-64.<br />
Dr. Nick Wilson is Senior Lecturer <strong>in</strong> Cultural & Creative Industries at<br />
the Centre for Culture, Media & Creative Industries, K<strong>in</strong>g’s College<br />
London, which he jo<strong>in</strong>ed<strong>in</strong> September 2009. Prior to this he was<br />
Course Director of the MA <strong>in</strong> Creative Industries & the Creative
Room 11D, Chesham Build<strong>in</strong>g,<br />
Strand, London, WC2R 2LS, United<br />
K<strong>in</strong>gdom<br />
Keywords creative economy, creative<br />
<strong>in</strong>dustries, higher education,<br />
management, occupation<br />
Karen Wilson Baptist<br />
University of Manitoba, Department<br />
of Landscape Architecture, Room<br />
305C J.A. Russell Build<strong>in</strong>g,<br />
W<strong>in</strong>nipeg, Manitoba, R3T 2N2,<br />
Canada<br />
Keywords architecture, landscape<br />
architecture, grief, death<br />
Nathan Wiseman-Trowse<br />
University of Northampton, St<br />
George’s Avenue, Northampton,<br />
Northamptonshire, NN2 6JD, United<br />
K<strong>in</strong>gdom<br />
Keywords popular culture, popular<br />
music, identity<br />
Economy at K<strong>in</strong>gston University. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude critical<br />
entrepreneurship, social creativity, aesthetic experience, artistic<br />
performance, and cultural production; the UK early music performance<br />
movement (1960s-present); and critical realist meta-theory, metareality,<br />
and esoteric sociology.<br />
› Learn<strong>in</strong>g to manage creativity: an occupational hazard for the UK's creative<br />
<strong>in</strong>dustries, Creative Industries Journal, 2.2, 179-190.<br />
Karen Wilson Baptist is an assistant professor <strong>in</strong> the Department of<br />
Landscape Architecture at the University of Manitoba. She has recently<br />
completed her Ph.D Studies <strong>in</strong> Landscape Architecture at the<br />
Ed<strong>in</strong>burgh College of Art. Her dissertation, entitled, 'Memorial<br />
Landscapes: A Phenomenology of Grief', explores the relationship<br />
between grief, death, and landscape, and privileges the role of<br />
landscape and landscape architecture <strong>in</strong> the mediation of grief.<br />
› Social justice agency <strong>in</strong> the landscape architecture studio: an action <strong>research</strong><br />
approach, Art, Design & Communication <strong>in</strong> Higher Education, 7.2, 91-103.<br />
Nathan Wiseman-Trowse is Senior Lecturer <strong>in</strong> Popular Culture at the<br />
University of Northampton. He has taught at the University for twelve<br />
years over a range of media related courses and is currently Course<br />
Leader for the University’s BA Popular Music degree. Nathan’s<br />
<strong>research</strong> has covered the multiple Blade Runner narratives, discourses<br />
of identity <strong>in</strong> British <strong>in</strong>die music, the guitar solo and symbolic<br />
disruption and shamanism <strong>in</strong> the music of Julian Cope. His doctoral<br />
thesis, 'Perform<strong>in</strong>g Class <strong>in</strong> British Popular Music' was published by<br />
Palgrave Macmillan <strong>in</strong> 2008. His article on Nick Cave, ‘The S<strong>in</strong>ger and<br />
the Song: Nick Cave and the Archetypal Function of the Cover<br />
Version’ will be published <strong>in</strong> The Art of Nick Cave (<strong>Intellect</strong> 2012) and<br />
he is currently complet<strong>in</strong>g a monograph for Reaktion books, Nick<br />
Drake: Dream<strong>in</strong>g England (2012).<br />
› The Magus <strong>in</strong> Marks and Spencer, Studies <strong>in</strong> Comics, 2.1, 3-5.
David Wood<br />
Vanderbilt University, Department of<br />
Philosophy<br />
Keywords Yucatan, mirror, Robert<br />
Smithson, art<br />
John Wood<br />
Goldsmiths University, Lewisham,<br />
New Cross, London, SE14 6NW,<br />
United K<strong>in</strong>gdom<br />
Keywords four-fold logic, relational<br />
(nature of design), writ<strong>in</strong>g,<br />
tetrahedronauspicious reason<strong>in</strong>g,<br />
design-th<strong>in</strong>k<strong>in</strong>g<br />
David Wood is Centennial Professor of Philosophy and Joe B. Wyatt<br />
Dist<strong>in</strong>guished Professor of Philosophy at Vanderbilt University. His<br />
<strong>in</strong>terests lie <strong>in</strong> the possibilities of read<strong>in</strong>g and th<strong>in</strong>k<strong>in</strong>g opened up by<br />
contemporary cont<strong>in</strong>ental philosophy and by n<strong>in</strong>eteenth century<br />
German thought. Current philosophical projects <strong>in</strong>clude:<br />
rework<strong>in</strong>g/displac<strong>in</strong>g Heidegger's treatment of time with<strong>in</strong> fundamental<br />
ontology; develop<strong>in</strong>g a nonprescriptive posthumanistic approach to<br />
ethics; provid<strong>in</strong>g an account of truth that does justice both to its<br />
normative, ‘existential’ and metaphysical dimensions; various different<br />
approaches to the philosophy of nature (environmental philosophy,<br />
animals rights, th<strong>in</strong>k<strong>in</strong>g boundaries etc.). He also runs a series of<br />
philosophy talks at the Nashville Downtown Public Library. David<br />
Wood is also an environmental artist and stages Art Events from time<br />
to time.<br />
› Mirror Infractions <strong>in</strong> the Yucatan, Journal of Visual Art Practice, 9.1, 69-86.<br />
John Wood is Professor of Design at Goldsmiths, University of<br />
London. Before that he was Deputy Head of F<strong>in</strong>e Art. He has launched<br />
several unique and <strong>in</strong>novative design degrees, <strong>in</strong>clud<strong>in</strong>g the BA (Hons)<br />
Design and the MA <strong>in</strong> Design Futures. He was co-founder of the<br />
‘Atta<strong>in</strong>able Utopias’ network (http://atta<strong>in</strong>able-utopias.org), and has<br />
published over a hundred articles and papers about aspects of<br />
environmental damage, consumption and design. An important aspect<br />
of his (re)search was driven by the need to enable designers to th<strong>in</strong>k<br />
more <strong>in</strong>novatively and responsibly about the implications of their<br />
practice. One outcome was the ‘IDEAbase’ author<strong>in</strong>g software<br />
application that was completed <strong>in</strong> 1994. His first book The Virtual<br />
Embodied was published (Routledge) <strong>in</strong> 1998, and his second,<br />
Design<strong>in</strong>g for Micro-Utopias was published 2007 by Ashgate/Gower.<br />
He is Pr<strong>in</strong>cipal Investigator of an EPSRC and AHRC-funded study <strong>in</strong>to<br />
new ways<br />
› The tetrahedron can encourage designers to formalize more responsible<br />
strategies, Art, Design & Communication <strong>in</strong> Higher Education, 3.3, 175-192.<br />
› Reviews, Art, Design & Communication <strong>in</strong> Higher Education, 7.2, 121-128.<br />
› Editorial – The ethical purpose of writ<strong>in</strong>g <strong>in</strong> creative practice, Journal of<br />
Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 5-12.<br />
› Editorial, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.2, 113-116.<br />
› Editorial, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.3, 201-204.<br />
› Auspicious Reason<strong>in</strong>g: Can metadesign become a mode of governance?,<br />
Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.3, 301-316.
Richard Woodfield<br />
Keywords <strong>research</strong>-based imagery,<br />
Mark Walport, critical response,<br />
dissem<strong>in</strong>at<strong>in</strong>g <strong>research</strong><br />
Paul Woodrow<br />
Keywords hypermorphism, parallaxic<br />
remix, bioelectrical body,<br />
technologized body, visualiz<strong>in</strong>g the<br />
<strong>in</strong>visible<br />
Trish Woods<br />
South Devon College, Art, design &<br />
media, 15 Pennsylvania Road,<br />
Torquay, Devon, TQ1 1NX, United<br />
K<strong>in</strong>gdom<br />
Keywords pat<strong>in</strong>ation, collaboration,<br />
<strong>in</strong>dustry, science, craft<br />
Richard Woodfield is Emeritus Professor of Asethetics and Art Theory<br />
at Nott<strong>in</strong>gham Trent University. Prior to retirement he was School<br />
Research Professor for the Nott<strong>in</strong>gham Trent School of Art and Design<br />
and Chair of relevant committees. Prior to that, and for many years, he<br />
had been <strong>in</strong> charge of the School’s programme of cultural studies. His<br />
special <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> art historiography and art theory,<br />
particularly <strong>in</strong> the theory of the image. He is currently work<strong>in</strong>g on the<br />
Vienna School of Art History <strong>in</strong> the context of its contemporary<br />
philosophy and psychology. He is also <strong>in</strong>terested <strong>in</strong> the history of art<br />
theory and the emergence of aesthetics <strong>in</strong> eighteenth-century Brita<strong>in</strong>.<br />
His current <strong>in</strong>terest <strong>in</strong> this area is the English reception of Leonardo’s<br />
Trattato della Pittura. Hav<strong>in</strong>g completed books on Riegl and Warburg<br />
he is now engaged <strong>in</strong> a book on German philosophy and art<br />
historiography.<br />
› Editorial, Journal of Visual Art Practice, 2.3, 116-118.<br />
› Editorial, Journal of Visual Art Practice, 3.1, 3-6.<br />
› Editorial, Journal of Visual Art Practice, 3.3, 163-164.<br />
Paul Woodrow is Professor of F<strong>in</strong>e <strong>Arts</strong>, Department of Art, University<br />
of Calgary, Canada. Paul's work <strong>in</strong> Art Theory complements his<br />
creative work, which can be seen <strong>in</strong> collections rang<strong>in</strong>g from Tate<br />
Gallery <strong>in</strong> London, the Canada Council Art Bank, and Radio Vision<br />
Inc. of Los Angeles. In the past few years, Paul has lectured at Karlstad<br />
University <strong>in</strong> Sweden and the Royal College of Art (2000), the The<br />
University of Western Sydney, Australia (1998), the University of<br />
Wales and the Chicago Art Institute (1977), and at the First Congress<br />
of Virtual Reality, and the University of Valencia, <strong>in</strong> Spa<strong>in</strong> (1995).<br />
› Electric flesh - the electromagnetic medium, Technoetic <strong>Arts</strong>: A Journal of<br />
Speculative Research, 3.3, 155-168.<br />
Trish Woods is a teacher and metal-smith. She studied jewellery and<br />
silversmith<strong>in</strong>g at Loughborough University and was Head of Metals at<br />
the Appalachian Centre for Craft, United States. She is currently a fulltime<br />
lecturer <strong>in</strong> Three Dimensional Design and Design History at South<br />
Devon College and is study<strong>in</strong>g for a Ph.D. <strong>in</strong> Design at the University<br />
of Plymouth, <strong>research</strong><strong>in</strong>g processes for colour<strong>in</strong>g t<strong>in</strong> and pewter and<br />
apply<strong>in</strong>g these to new design products for the pewter <strong>in</strong>dustry. She has<br />
presented numerous papers on the potential for colour on t<strong>in</strong> and<br />
pewter, and cont<strong>in</strong>ues to exhibit her work as a designer-maker.
Natalie Woolf<br />
Keywords design modes, organic<br />
framework, <strong>in</strong>tuition, thesis writ<strong>in</strong>g<br />
Mart<strong>in</strong> Woolley<br />
Coventry University, Coventry<br />
School of Art and Design, Priory<br />
Street, Coventry, CV1 5FB, United<br />
K<strong>in</strong>gdom<br />
Keywords susta<strong>in</strong>ability, product<br />
semantics, user <strong>research</strong>, craft,<br />
product semantics, design<br />
› Cross<strong>in</strong>g boundaries: A partnership of craft, <strong>in</strong>dustry and science through<br />
practice-led <strong>research</strong> <strong>in</strong>to the pat<strong>in</strong>ation of pewter, Craft Research, 1.1, 133-<br />
143.<br />
Natalie Woolf grew up <strong>in</strong> Buck<strong>in</strong>ghamshire where she began<br />
professional tra<strong>in</strong><strong>in</strong>g <strong>in</strong> the arts at the age of sixteen on the BTEC<br />
<strong>in</strong>dustry-approved Art and Design education programme at Amersham<br />
EF, FE college. She moved on to specialize <strong>in</strong> pa<strong>in</strong>t<strong>in</strong>g at Leeds<br />
Polytechnic (now Leeds Metropolitan University) and after graduat<strong>in</strong>g,<br />
rema<strong>in</strong>ed <strong>in</strong> Yorkshire to cont<strong>in</strong>ue pa<strong>in</strong>t<strong>in</strong>g and to set up her own<br />
practice as a designer/maker specializ<strong>in</strong>g <strong>in</strong> floor<strong>in</strong>g. Over the next<br />
twelve years her company developed and moved <strong>in</strong>to designs for v<strong>in</strong>yl<br />
which were exhibited at 100% Design and <strong>in</strong>ternationally. In 1999, she<br />
moved to London to undertake <strong>research</strong> at the RCA <strong>in</strong> order to explore<br />
the more creative and conceptual aspects of design practice. S<strong>in</strong>ce<br />
complet<strong>in</strong>g her Ph.D. <strong>in</strong> 2004, Natalie has been both work<strong>in</strong>g as an<br />
artist consultant specializ<strong>in</strong>g <strong>in</strong> works <strong>in</strong> the public realm and<br />
cont<strong>in</strong>u<strong>in</strong>g her creative and <strong>research</strong> practice.<br />
› Design <strong>research</strong> by practice: modes of writ<strong>in</strong>g <strong>in</strong> a recent Ph.D. from the<br />
RCA, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.1, 53-68.<br />
Mart<strong>in</strong> Woolley's <strong>in</strong>terests encompass susta<strong>in</strong>ability, product<br />
semantics, user <strong>research</strong>, the crafts, product semantics and designrelated<br />
aspects of the <strong>in</strong>novation process. He moved <strong>in</strong>to a <strong>research</strong><br />
project management role, <strong>in</strong>itially as Director of the HEFCE/TLTP<br />
funded 'demi' Project which established web-based learn<strong>in</strong>g and<br />
teach<strong>in</strong>g resources for UK design courses, and more recently he was<br />
pr<strong>in</strong>cipal <strong>in</strong>vestigator on both the EU Framework 5 'AGORA Cities for<br />
People' project and on the 'Emotional Wardrobe' Design<strong>in</strong>g for the 21st<br />
Century EPSRC/AHRC cluster project.<br />
› Book Review, Journal of Writ<strong>in</strong>g <strong>in</strong> Creative Practice, 1.2, 191-193.<br />
› Beyond control: Reth<strong>in</strong>k<strong>in</strong>g <strong>in</strong>dustry and craft dynamics, Craft Research,<br />
2.1, 11-36.
Roger Wooster<br />
The University Of Wales, Newport,<br />
Perform<strong>in</strong>g <strong>Arts</strong>, City Campus, Usk<br />
Way, Newport, NP20 2BP, United<br />
K<strong>in</strong>gdom<br />
Keywords TIE, health, education,<br />
drama, theatre<br />
Pete Worrall<br />
Keywords art education, digital<br />
technology, new media, <strong>in</strong>tercultural<br />
dialogue, teacher tra<strong>in</strong><strong>in</strong>g, <strong>in</strong>formation<br />
and communication<br />
Victoria Worsley<br />
Keywords contemporary art, creative<br />
process, documentation, Helen<br />
Chadwick, memory<br />
Roger Wooster worked <strong>in</strong> Theatre In Education as a founder member<br />
of Open Cast Theatre and as part of Theatr Powys where he helped<br />
develop the company’s participatory approach to TIE. S<strong>in</strong>ce 1990, he<br />
has worked <strong>in</strong> Further and Higher Education, contribut<strong>in</strong>g to a number<br />
of journals and publish<strong>in</strong>g Contemporary Theatre <strong>in</strong> Education <strong>in</strong><br />
2007. He is currently at The University of Wales Newport where he is<br />
Senior Lecturer <strong>in</strong> Perform<strong>in</strong>g <strong>Arts</strong> and Applied Drama.<br />
› Theatre <strong>in</strong> education: More than just a health message, Journal of Applied<br />
<strong>Arts</strong> & Health, 1.3, 281-294.<br />
Pete Worrall is an artist, writer, teacher and consultant, currently<br />
employed by UniServity, a lead<strong>in</strong>g learn<strong>in</strong>g platform company, based<br />
<strong>in</strong> the United K<strong>in</strong>gdom, United States and Australia. Dur<strong>in</strong>g his<br />
professional career he has taught Art and Design at school and<br />
university levels. In addition to his role as a teacher, he is a<br />
practic<strong>in</strong>g multimedia artist, freelance 'creative arts' consultant and<br />
writer. A range of publications <strong>in</strong>clude Electric Studio (postgraduate<br />
students workshop practice), Cultural Identity, Digital Media and Art<br />
(a project developed <strong>in</strong> Brazil), ‘A Critical Context: Art and Design<br />
Education on the Edge' (International case studies) and Art through IT<br />
(Creativity and IT <strong>in</strong> a Primary School context). His current <strong>research</strong><br />
<strong>in</strong>volves explor<strong>in</strong>g the '<strong>in</strong>terfaces of creative practice' through<br />
<strong>in</strong>tercultural dialogue and exchange, with artists and teachers <strong>in</strong><br />
Europe.<br />
› Towards the development of electronic learn<strong>in</strong>g and 'onl<strong>in</strong>e' tools: An<br />
experimental approach to specialist teacher education (Art and Design), Art,<br />
Design & Communication <strong>in</strong> Higher Education, 1.1, 37-49.<br />
Victoria Worsley is Archivist at the Henry Moore Institute Archive, a<br />
specialist repository hold<strong>in</strong>g papers relat<strong>in</strong>g to British sculpture. She<br />
has a particular <strong>in</strong>terest <strong>in</strong> artist’s books and concrete poetry, the<br />
display and exhibition of archives and mean<strong>in</strong>g and memory <strong>in</strong><br />
archives.<br />
› Collect<strong>in</strong>g the traces: an archivist's perspective, Journal of Visual Art<br />
Practice, 6.3, 175-190.
Christ<strong>in</strong>e Woywod<br />
University of Wiscons<strong>in</strong>-Milwaukee,<br />
Department of Art and Design,<br />
Adjunct Assistant Professor, Art<br />
Education, Peck, School of the <strong>Arts</strong>,<br />
P.O. Box 413, Milwaukee, WI 53201,<br />
United States of America<br />
Keywords art education,<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary learn<strong>in</strong>g<br />
Debao Xiang<br />
Shanghai International Studies<br />
University, School of Journalism and<br />
Communication, Shanghai, 200083,<br />
Ch<strong>in</strong>a<br />
Keywords problems, status quo,<br />
family plann<strong>in</strong>g, slogans, posters<br />
Gu Xiong<br />
University of British Columbia,<br />
Department of Art History, Visual<br />
Art, and Theory, 403 - 6333<br />
Memorial Road, Vancouver, British<br />
Columbia, BC, V6T 1Z2, Canada<br />
Keywords embodied heteroglossic<br />
spaces, immigration, identity,<br />
practice-based <strong>research</strong>, arts-based<br />
<strong>research</strong><br />
Christ<strong>in</strong>e Woywod is an Adjunct Assistant Professor of Art Education,<br />
Peck School of the <strong>Arts</strong>, University of Wiscons<strong>in</strong>-Milwaukee. She<br />
previously taught art <strong>in</strong> elementary and high school sett<strong>in</strong>gs. From her<br />
experiences and <strong>research</strong>, she believes it is important to take issuebased<br />
approaches to art <strong>in</strong>struction and is passionate about<br />
collaborat<strong>in</strong>g with other educators to create <strong>in</strong>terdiscipl<strong>in</strong>ary learn<strong>in</strong>g<br />
experiences for students.<br />
› Objects of amplified context: an <strong>in</strong>terview with artist-teacher Pepón Osorio,<br />
Visual Inquiry: Learn<strong>in</strong>g & Teach<strong>in</strong>g Art, 1.1, 21-32.<br />
Dr. Debao Xiang is presently a lecturer at the School of Journalism and<br />
Communication, Shanghai International Studies University. He<br />
completed his doctoral work at the School of Journalism and<br />
Communication, Ts<strong>in</strong>ghua University, Ch<strong>in</strong>a and the Centre for<br />
International Communication, Macquarie University, Australia. His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude <strong>in</strong>ternational communication, political<br />
communication and journalism studies.<br />
› Transition of Ch<strong>in</strong>ese family plann<strong>in</strong>g slogans and posters, The Poster, 1.1,<br />
95-119.<br />
Gu Xiong is an associate professor <strong>in</strong> the Department of Art History,<br />
Visual Art, and Theory at The University of British Columbia. His<br />
work is represented <strong>in</strong> the collections of the National Gallery of<br />
Canada, the Ch<strong>in</strong>a National Museum of F<strong>in</strong>e <strong>Arts</strong> among many other<br />
museums and private collections. His focus on hybrid-identity creation<br />
aris<strong>in</strong>g from the <strong>in</strong>tegration of different cultural orig<strong>in</strong>s has received<br />
significant critical recognition <strong>in</strong>clud<strong>in</strong>g reviews <strong>in</strong> <strong>in</strong>ternational art<br />
magaz<strong>in</strong>es, Flash Art, Art <strong>in</strong> America, and The New York Times.<br />
› Research and creation: Socially-engaged art <strong>in</strong> The City of Richgate Project,<br />
International Journal of Education through Art, 6.2, 213-227.<br />
› Render<strong>in</strong>g Embodied Heteroglossic Spaces, Journal of <strong>Arts</strong> & Communities,<br />
1.2, 129-146.<br />
Chen Xu Chen Xu has an MA <strong>in</strong> Cultural and Creative Industries from K<strong>in</strong>g’s
United K<strong>in</strong>gdom<br />
Keywords creative bus<strong>in</strong>ess park,<br />
creative management, urban study,<br />
<strong>in</strong>dustrial heritage, Ch<strong>in</strong>ese culture<br />
Karen Yair<br />
Keywords cultural policy, craft,<br />
glass-mak<strong>in</strong>g<br />
Liu Yan<br />
United K<strong>in</strong>gdom<br />
Keywords creative bus<strong>in</strong>ess park,<br />
creative management, urban study,<br />
<strong>in</strong>dustrial heritage, Ch<strong>in</strong>ese culture<br />
College London (United K<strong>in</strong>gdom). Chen Xu has worked with the<br />
lead<strong>in</strong>g creative economist John Howk<strong>in</strong>s as the Country Manager<br />
(Ch<strong>in</strong>a) s<strong>in</strong>ce 2006 and later jo<strong>in</strong>ed BOP Consult<strong>in</strong>g to help to<br />
implement the company’s <strong>in</strong>ternational <strong>research</strong> and consult<strong>in</strong>g<br />
projects. She is now a co-founder of Shanghai 3S Creative<br />
Management and an associate of BOP Consult<strong>in</strong>g. Chen Xu worked as<br />
a <strong>research</strong>er on the revision of John Howk<strong>in</strong>s’s book on the global<br />
creative economy. She has also worked with Film London, <strong>Arts</strong> &<br />
Bus<strong>in</strong>ess and Ch<strong>in</strong>a Shanghai International <strong>Arts</strong> Festival.<br />
› Ecstaquarter on Huang Pu River: an <strong>in</strong>terview with the director of one of<br />
Shanghai's most <strong>in</strong>novative creative clusters, Creative Industries Journal,<br />
1.3, 275-282.<br />
Dr. Karen Yair is an <strong>in</strong>dependent consultant with experience <strong>in</strong> a range<br />
of <strong>research</strong> and cultural policy roles. Initially tra<strong>in</strong>ed as a glass maker,<br />
Karen’s doctoral <strong>research</strong> explored the craft – design dynamic through<br />
the experiences of makers and <strong>in</strong>dustrial manufactur<strong>in</strong>g companies<br />
engaged <strong>in</strong> new product development. Karen participated <strong>in</strong> the ICDHS<br />
2010 Conference <strong>in</strong> her capacity as Research and Information Manager<br />
at the UK Crafts Council, a role she held between 2008 and 2010.<br />
Karen is co-author of Mak<strong>in</strong>g Value: craft & and the economic and<br />
social contribution of makers and a number of peer-reviewed<br />
publications.<br />
› CONFERENCE REVIEWS, Craft Research, 2.1, 185-194.<br />
Liu Yan, MA studied <strong>Arts</strong> and Media Management at the Utrecht<br />
School of <strong>Arts</strong> (the Netherlands) and holds a postgraduate diploma <strong>in</strong><br />
market<strong>in</strong>g from the CharteredInstitute of Market<strong>in</strong>g (London). Liu Yan<br />
is a cultural entrepreneur <strong>who</strong> co-founded Shanghai 3S Creative<br />
Management and Da-Tong Ch<strong>in</strong>a Desk Creative Industry, which<br />
provide professional services and co-work<strong>in</strong>g office space to creative<br />
professionals, entrepreneurs and organizations to establish<br />
collaboration <strong>in</strong> Ch<strong>in</strong>a. Liu Yan has been a guest lecturer and<br />
consultant <strong>in</strong> the creative <strong>in</strong>dustry and cluster<strong>in</strong>g, arts market<strong>in</strong>g and<br />
audience development for several Ch<strong>in</strong>ese and Dutch art academies and<br />
art organizations. Prior to her career <strong>in</strong> the art and culture sector, she<br />
worked for six years <strong>in</strong> Shanghai as an account director of Pathways<br />
market<strong>in</strong>g consultancy.
M<strong>in</strong>g-Y<strong>in</strong>g Yang<br />
National United University,<br />
Department of Industrial Design,<br />
National United University, Taiwan<br />
Keywords gender and design, design<br />
education, <strong>in</strong>dustrial design<br />
Sarah Gibson Yates<br />
Anglia Rusk<strong>in</strong> University,<br />
Department of English, Helmore 327,<br />
Department of English,<br />
Communications, Film and Media,<br />
Faculty of <strong>Arts</strong>, Law and Social<br />
Sciences, Anglia Rusk<strong>in</strong> University,<br />
Cambridge CB1 1PT, United<br />
K<strong>in</strong>gdom<br />
Keywords<br />
Heidi Yeo<br />
London Metropolitan University, 59 –<br />
63 Whitechapel High Street, London,<br />
E1 7PF, United K<strong>in</strong>gdom<br />
Keywords jewellery, silversmith<strong>in</strong>g,<br />
product design<br />
› Ecstaquarter on Huang Pu River: an <strong>in</strong>terview with the director of one of<br />
Shanghai's most <strong>in</strong>novative creative clusters, Creative Industries Journal,<br />
1.3, 275-282.<br />
Dr. Yang is an Associate Professor of Industrial Design at the National<br />
United University <strong>in</strong> Taiwan. She holds a doctoral degree of Design<br />
Studies from the National Yunl<strong>in</strong> University of Science and<br />
Technology <strong>in</strong> Taiwan. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude gender and<br />
design, design education and e-portfolios.<br />
› A study of <strong>in</strong>dustrial design students' employment preparation and choices <strong>in</strong><br />
Taiwan, Art, Design & Communication <strong>in</strong> Higher Education, 9.1, 21-40.<br />
Sarah Gibson Yates is a writer, filmmaker and educationalist with an<br />
<strong>in</strong>terest <strong>in</strong> narratives and self-representation <strong>in</strong> social media, and<br />
networked publics. Sarah has written, produced and directed a number<br />
of short films that have been exhibited <strong>in</strong>ternationally at various<br />
festivals and onl<strong>in</strong>e. She currently teaches film and scriptwrit<strong>in</strong>g at<br />
Anglia Rusk<strong>in</strong> Universirty.<br />
› User: Reflections on the narrativization of self with<strong>in</strong> social network<strong>in</strong>g sites:<br />
A presentation and discussion of the processes <strong>in</strong>volved <strong>in</strong> the development<br />
of a creative work-<strong>in</strong>-progress, Book 2.0, 1.1, 31-37.<br />
Heidi Yeo graduated with a BA (Hons) <strong>in</strong> Jewellery, Silversmith<strong>in</strong>g<br />
and Allied Crafts <strong>in</strong> 1986. She ran a studio practice as a designer/maker<br />
between 1986 and 2002. S<strong>in</strong>ce 2002, Yeo has been Senior Lecturer and<br />
Course Leader for Jewellery and Silversmith<strong>in</strong>g at London<br />
Metropolitan University. Between 1998 and 2005, Yeo undertook<br />
various architectural metalwork and public art projects. She coconvened<br />
‘Carry the Can’ (2004–2006, with Helen Carnac and<br />
Elizabeth Call<strong>in</strong>icos), which culm<strong>in</strong>ated <strong>in</strong> a jewellery conference <strong>in</strong><br />
July 2006 by London Met and the Association for Contemporary<br />
Jewellery. In 2010, Yeo moved on to become Course Leader, Furniture<br />
and Product Design at London Met. In 2011, she completed an MA <strong>in</strong><br />
Architectural History, Theory and Interpretation.
Joonsung Yoon<br />
Keywords photography, writer,<br />
design<br />
Mantz Yorke<br />
Lancaster University, Educational<br />
Research, 4 St Aldwyns Road,<br />
Didsbury, Manchester, Greater<br />
Manchester, M20 3JF, United<br />
K<strong>in</strong>gdom<br />
Keywords student experience,<br />
National Student Survey, assessment,<br />
retention<br />
› EXHIBITION REVIEWS, Craft Research, 2.1, 161-178.<br />
Born <strong>in</strong> Seoul, Korea, Joonsung Yoon received a BSc from Sogang<br />
University (Seoul, Korea) and earned an MFA <strong>in</strong> photographic Design<br />
at Hongik University (Seoul, Korea). In 1996 he got an MA from New<br />
York University/ International Center of Photography Graduate<br />
Program. Yoon has taught photography at a National University <strong>in</strong><br />
Korea and he is also a writer for the Korean Monthly Photographic<br />
Magaz<strong>in</strong>e. Joonsung Yoon explores the dichotomy of identity and<br />
appearance with computer manipulated photographs. Yoon is his own<br />
subject, portray<strong>in</strong>g himself both with and without glasses as a visual<br />
representation of his two psychological extremes. He is identify<strong>in</strong>g<br />
today’s medium, the computer, compar<strong>in</strong>g it with photography <strong>in</strong> the<br />
avant-garde period.<br />
› SEEING HIS OWN ABSENCE: Culture and Gender <strong>in</strong> Yasumasa<br />
Morimura's Photographic Self-Portraits, Journal of Visual Art Practice, 1.3,<br />
162-169.<br />
Mantz Yorke spent n<strong>in</strong>e years <strong>in</strong> schools and four <strong>in</strong> teacher education<br />
at Manchester Polytechnic before mov<strong>in</strong>g <strong>in</strong>to staff development and<br />
educational <strong>research</strong>. He then spent six years as a senior manager at<br />
Liverpool Polytechnic, after which he spent two years on secondment<br />
as Director of Quality Enhancement at the Higher Education Quality<br />
Council. He returned to his <strong>in</strong>stitution (by then Liverpool John Moores<br />
University) as Director of the Centre for Higher Education<br />
Development, where he has <strong>research</strong>ed and reflected on various aspects<br />
of the student experience. He has published widely, and his recent<br />
work has covered widen<strong>in</strong>g participation, student retention, assessment<br />
and employability.<br />
› The student experience <strong>in</strong> Art and Design – some issues aris<strong>in</strong>g from<br />
<strong>research</strong> on non-completion, Art, Design & Communication <strong>in</strong> Higher<br />
Education, 1.2, 115-118.<br />
Yukihiko Yoshida Yukihiko Yoshida is dance critic, <strong>research</strong>er, and educator. He is<br />
committee member of Dance Critics Society of Japan and has written
Keio Research Institute at SFC<br />
Keywords dance and ballet, <strong>research</strong><br />
grid, dance and technologies,<br />
criticism<br />
Toru Yoshikawa<br />
Keywords exhibitions, artist<br />
Manlai You<br />
National Yunl<strong>in</strong> University of Science<br />
and Technology, Department of<br />
Industrial Design, Taiwan<br />
Keywords employment choices,<br />
employment preparation, <strong>in</strong>dustrial<br />
design, higher education, design<br />
education<br />
numerous reviews and articles for dance magaz<strong>in</strong>es and newspapers.<br />
Additionally, he works for network divisions of some academic<br />
organizations and construct<strong>in</strong>g <strong>research</strong> grid on dance. He studies and<br />
teaches Media Studies, Information Process<strong>in</strong>g, Theatre Research,<br />
Cognitive Science (Cognition Studies), L<strong>in</strong>guistics (English), Film<br />
Studies and Dance Studies. Hence, He studies dance and technology<br />
and has worked for the International Advisory Boards of the Digital<br />
Community Division, Prix Ars Electronica (2005-2009) and as<br />
assistant of Prof. Ted Nelson and Project Xanadu, the orig<strong>in</strong>al<br />
Hypertext project.<br />
› Leni Riefenstahl and German expressionism: <strong>research</strong> <strong>in</strong> Visual Cultural<br />
Studies us<strong>in</strong>g the transdiscipl<strong>in</strong>ary semantic spaces of specialized<br />
dictionaries, Technoetic <strong>Arts</strong>: A Journal of Speculative Research, 6.3, 287-<br />
309.<br />
Toru Yoshikawa was born <strong>in</strong> 1964 <strong>in</strong> Kawasaki, Japan and currently<br />
lives <strong>in</strong> Tokyo. Dur<strong>in</strong>g the 1980s, Yoshikawa studied art and design <strong>in</strong><br />
the United States and has been participat<strong>in</strong>g <strong>in</strong> many collaborative<br />
projects with a multi-discipl<strong>in</strong>ary design and art cooperative, ‘tomato’<br />
<strong>in</strong>clud<strong>in</strong>g the UK band Underworld’s ‘ARTJAM’ project. As well as<br />
be<strong>in</strong>g a collaborator with ‘tomato’, Yoshikawa also specializes <strong>in</strong><br />
plann<strong>in</strong>g book, magaz<strong>in</strong>e, exhibitions and retail spaces <strong>in</strong> Tokyo.<br />
› Project profiles, Design Ecologies, 1.1, 153-.<br />
Dr. You is a Professor of Industrial Design at the National Yunl<strong>in</strong><br />
University of Science and Technology <strong>in</strong> Taiwan. He holds a doctoral<br />
degree of System Design from the University of Waterloo, Canada. He<br />
has published over 50 journal papers <strong>in</strong> national and <strong>in</strong>ternational<br />
journals such as Design Studies, Applied Ergonomics and the<br />
International Journal of Design. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
ergonomics, e-learn<strong>in</strong>g and design education.<br />
› A study of <strong>in</strong>dustrial design students' employment preparation and choices <strong>in</strong><br />
Taiwan, Art, Design & Communication <strong>in</strong> Higher Education, 9.1, 21-40.
Christoph Zellweger<br />
Sheffield Hallam University, Art and<br />
Design Research Centre, Room 9104,<br />
Furnival Build<strong>in</strong>g, 153 Arundel<br />
Street, Sheffield, S1 2NU, United<br />
K<strong>in</strong>gdom<br />
Keywords jewellery, metalwork,<br />
design<br />
Brigitta Zics<br />
Newcastle University, Digital Media,<br />
Culture Lab, Grand Assembly Rooms,<br />
K<strong>in</strong>g's Walk, Newcastle, Tyne and<br />
Wear, NE1 7RU, United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>teractive art, affective<br />
art, art and science, human-computer<br />
<strong>in</strong>teraction, affective comput<strong>in</strong>g,<br />
philosophy of m<strong>in</strong>d, creative practice,<br />
experimental visualization, visual arts,<br />
human perception<br />
Helen Zigmond<br />
Keywords power, hope, community,<br />
health, perception<br />
Christoph Zellweger (born 1962, lives <strong>in</strong> Switzerland/United K<strong>in</strong>gdom)<br />
started as a tra<strong>in</strong>ed craftsman and maker of f<strong>in</strong>e jewellery and<br />
metalwork for the high-end market <strong>in</strong> Germany and Switzerland. After<br />
go<strong>in</strong>g through a rigorous phase of question<strong>in</strong>g his role as an artistmaker<br />
he developed a ‘critical edge’, which was manifested <strong>in</strong> his<br />
degree work at the Royal College of Art, where he qualified with<br />
dist<strong>in</strong>ction. In addition to exhibit<strong>in</strong>g <strong>in</strong>ternationally and runn<strong>in</strong>g his<br />
Zurich-based studio, he holds a professorial <strong>research</strong> post at Sheffield<br />
Hallam University, is a visit<strong>in</strong>g professor at the University of Ulster<br />
and lectures at Europe’s lead<strong>in</strong>g design and art colleges and <strong>in</strong><br />
America.<br />
› THE PORTRAIT SECTION, Craft Research, 2.1, 143-160.<br />
Dr. Brigitta Zics is an artist, media philisopher and <strong>in</strong>teraction designer<br />
with particular <strong>in</strong>terest <strong>in</strong> emerg<strong>in</strong>g technologies and their impact on<br />
creative practises and human cognition. She is a Lecturer <strong>in</strong> Digital<br />
Media <strong>in</strong> Culture Lab at University of Newcastle and Senior Lecturer<br />
<strong>in</strong> Design at University of Wales.<br />
› Eng<strong>in</strong>eer<strong>in</strong>g experiences <strong>in</strong> biofeedback <strong>in</strong>terfaces: Interaction as a cognitive<br />
feedback loop, Journal of Visual Art Practice, 10.1, 71-82.<br />
Helen Zigmond has an extensive background <strong>in</strong> education and the arts,<br />
work<strong>in</strong>g as a practitioner and consultant <strong>in</strong> tra<strong>in</strong><strong>in</strong>g and policy<br />
development <strong>in</strong> schools, universities and community <strong>in</strong>stitutions. She<br />
believes health to be a cultural context. Helen has worked <strong>in</strong> the health<br />
sector s<strong>in</strong>ce 1995. Creative Well was developed as a susta<strong>in</strong>able<br />
hospital arts programme <strong>in</strong> 1997 at The Children’s Hospital at<br />
Westmead, Sydney, New South Wales. Subsequently the arts <strong>in</strong><br />
community health program Clacia was trialled <strong>in</strong> regional NSW for<br />
two years from 2001. Helen is currently <strong>in</strong> partnership with the<br />
Starlight Children’s Foundation. She is also a consultant to the<br />
Adolescent Medic<strong>in</strong>e Unit at the Children’s Hospital at Westmead and<br />
a member of the recently formed <strong>Arts</strong> <strong>in</strong> Health Foundation, Australia.<br />
› Not all ill – The arts as counterpo<strong>in</strong>t, Journal of <strong>Arts</strong> & Communities, 1.2,<br />
169-176.
Mal<strong>in</strong> Zimm<br />
Stockholm, Sweden<br />
Keywords architecture, dreams,<br />
narrativity, virtuality, virtual reality,<br />
spatiality, fiction, plotless, n<strong>in</strong>eteenthcentury<br />
media culture, domestic<br />
<strong>in</strong>terior, virtual travell<strong>in</strong>g, <strong>in</strong>teractive<br />
environment, mov<strong>in</strong>g image<br />
technology, proto-c<strong>in</strong>ematic,<br />
k<strong>in</strong>etoscope, immersion, spectator,<br />
sensation, imag<strong>in</strong>ation, consumption<br />
Maxa Zoller<br />
Keywords<br />
Tomaz Zupancic<br />
University of Maribor, Faculty of<br />
Education, Koroska 160, Maribor,<br />
2000, Slovenia<br />
Keywords contemporary, art,<br />
education, postmodernism,<br />
<strong>in</strong>terculturalism<br />
Mal<strong>in</strong> Zimm, architect and writer, published her Ph.D. thesis 'Los<strong>in</strong>g<br />
the Plot - Architecture and Narrativity <strong>in</strong> F<strong>in</strong>-de-Siècle Media Cultures'<br />
<strong>in</strong> 2005. The thesis <strong>in</strong>vestigates the role of the term plot <strong>in</strong> mediat<strong>in</strong>g<br />
relations between architecture and narrativity and concludes a five year<br />
<strong>research</strong> programme as a part of the group xakt – critical theory <strong>in</strong><br />
architecture at the School of Architecture, Royal Institute of<br />
Technology <strong>in</strong> Stockholm, from where she graduated <strong>in</strong> 1999 as an<br />
architect, after diploma studies at the Bartlett School of Architecture,<br />
University College London. Zimm’s professional background <strong>in</strong>cludes<br />
production design for film, architectural and product design and<br />
freelance writ<strong>in</strong>g. S<strong>in</strong>ce complet<strong>in</strong>g her Ph.D., Zimm has been editor<strong>in</strong>-chief<br />
of the Swedish architecture magaz<strong>in</strong>e , and is currently Senior<br />
Advisor <strong>in</strong> Architecture at the Swedish Museum of Architecture,<br />
Stockholm.<br />
› The dy<strong>in</strong>g dreamer: architecture of parallel realities, Technoetic <strong>Arts</strong>: A<br />
Journal of Speculative Research, 1.1, 61-68.<br />
› Round table discussion: The affects of the abstract image <strong>in</strong> film and video<br />
art, Mov<strong>in</strong>g Image Review & Art Journal MIRAJ, 1.1, 79-87.<br />
Tomaz Zupancic (b. 1962) has worked as a secondary-school art<br />
teacher <strong>in</strong> Slovenia and as an art therapist for children with special<br />
needs. He is currently Assistant Professor of art education <strong>in</strong> the<br />
Department of F<strong>in</strong>e <strong>Arts</strong>, Faculty of Education, University of Maribor.<br />
He is also head of the Department of Pre-school Education. His<br />
<strong>research</strong> is ma<strong>in</strong>ly oriented toward contemporary art education and to<br />
<strong>in</strong>troduc<strong>in</strong>g postmodern, conceptual, works of art <strong>in</strong>to educational<br />
practice at different educational levels. He has written books on preschool<br />
and primary art education.<br />
› Contemporary artworks and art education, International Journal of<br />
Education through Art, 1.1, 29-42.
3D virtual world<br />
Lilly (Li-Fen) Lu<br />
A Harlots Progress<br />
Roberto Bartual<br />
a/r/tography<br />
Jill Smith<br />
Abdessemed<br />
Giovanni Aloi<br />
Aborig<strong>in</strong>al Australians<br />
Ian Henderson<br />
abstract film<br />
Michael Betancourt<br />
abstraction<br />
Deborah Rob<strong>in</strong>son<br />
abstraction as representation<br />
Mick F<strong>in</strong>ch<br />
academic entrepreneurship<br />
Tim Vorley<br />
academic literacies<br />
Darryl Hock<strong>in</strong>g<br />
academic writ<strong>in</strong>g<br />
Dipti Bhagat<br />
Peter O'Neill<br />
Stanislav Roudavski<br />
academic writ<strong>in</strong>g <strong>in</strong> f<strong>in</strong>e art<br />
Joan Turner<br />
achievement<br />
Robyn Gibson<br />
act<strong>in</strong>g<br />
Sean Aita<br />
Fred McVittie<br />
active learn<strong>in</strong>g<br />
Gerald<strong>in</strong>e Biddle-Perry<br />
active notation<br />
Alice Fox<br />
Active Notation<br />
Phil Legard<br />
Nigel Morgan<br />
Matthew Rob<strong>in</strong>son<br />
activity theory<br />
Nicolette Lee<br />
Stella Tan<br />
activity theory academic<br />
literacy<br />
Gav<strong>in</strong> Melles<br />
actor<br />
Jack Klaff<br />
actor tra<strong>in</strong><strong>in</strong>g<br />
David Grant<br />
actor-network theory<br />
Sara Malou Strandvad<br />
actors' <strong>in</strong>volvement<br />
Montserrat Pareja-Eastaway<br />
adaptation<br />
Paul Atk<strong>in</strong>son<br />
Claire H<strong>in</strong>d<br />
Claire H<strong>in</strong>d<br />
James Reynolds<br />
adaptive capacity<br />
Juan Carlos Pacheco Contreras<br />
adolescent women<br />
Madele<strong>in</strong>e Brens<br />
adolescents<br />
Marjorie Cohee Manifold<br />
Adorno<br />
Andy Hamilton<br />
advertis<strong>in</strong>g<br />
Suzanne Barnes<br />
Ken Garland<br />
Victor I. Ukaegbu<br />
advocacy<br />
Mofizur Rhaman<br />
Prabha Sahasrabudhe<br />
aesthetic<br />
Åsa Andersson<br />
James Elk<strong>in</strong>s<br />
aesthetic experience<br />
Nicholas Davey<br />
Bjarne Sode Funch<br />
Kerst<strong>in</strong> Mey<br />
aesthetic preferences<br />
Kather<strong>in</strong>a Danko-McGhee<br />
aesthetic studies<br />
Scott Rettberg<br />
aesthetic thought<br />
Jeremy Spencer<br />
aesthetic understand<strong>in</strong>g<br />
Kerst<strong>in</strong> Mey<br />
aesthetics<br />
Beatriz Acevedo<br />
Joe Adu- Agyem<br />
Susan Best<br />
Emily Brady<br />
Clive Cazeaux<br />
Gerald Cipriani<br />
Mavis Enti<br />
Jill Franz<br />
David Gall<br />
Julia Jansen<br />
Y.S. Peligah<br />
Wood Roberdeau<br />
John Roberts<br />
William P. Seeley<br />
Janez Strehovec<br />
aesthetics and politics<br />
Malcolm Qu<strong>in</strong>n<br />
aesthetics of immersion<br />
J<strong>in</strong>sil Seo
aesthetics of nature<br />
Andy Hamilton<br />
affect<br />
Bridget Crone<br />
affect studies<br />
Susan Best<br />
affective art<br />
Brigitta Zics<br />
affective comput<strong>in</strong>g<br />
Brigitta Zics<br />
African art<br />
Jacquel<strong>in</strong>e Chanda<br />
Nana Afia Opoku–Asare<br />
age<strong>in</strong>g<br />
Hilary Bungay<br />
Paul G. Dempster<br />
agility<br />
Nicholas Tresilian<br />
ag<strong>in</strong>g<br />
Laura Hurd Clarke<br />
AHRB<br />
Euan McArthur<br />
AI<br />
Bill Seaman<br />
Ala<strong>in</strong> Badiou<br />
Bridget Crone<br />
Alan Moore<br />
Ian Dawe<br />
Jochen Ecke<br />
A. David Lewis<br />
Andrés Romero-Jódar<br />
aletheic imag<strong>in</strong>ation<br />
Derek Whitehead<br />
Alfred Hitchcock<br />
Nick Haeffner<br />
a-life<br />
Joseph Nechvatal<br />
Alison Bechdel<br />
Christian W. Schneider<br />
Miriam Brown Spiers<br />
alternative media<br />
Rosie Meade<br />
alternative models of writ<strong>in</strong>g<br />
Cecilia Häggström<br />
Alzheimer's disease<br />
Santiago Navarro<br />
Amergent music<br />
Norbert Herber<br />
America<br />
Suhail Malik<br />
American art<br />
Roger M. Buergel<br />
American literature<br />
David Simmons<br />
Amnesty International<br />
Rosemary Burnett<br />
analogy<br />
Barbara Lasserre<br />
anamorphosis<br />
Peter Stott<br />
anarchism<br />
James Reynolds<br />
Ancient Near Eastern studies<br />
Shelby Moser<br />
ancient schema<br />
Mel Alexenberg<br />
Anglo-American subculture<br />
Mark Leckey<br />
Angola<br />
Jorge Gumbe<br />
animal<br />
Steve Dutton<br />
Rikke Hansen<br />
Steve Sw<strong>in</strong>dells<br />
animalization<br />
Rikke Hansen<br />
animals<br />
Emily Brady<br />
animation<br />
Rose Bond<br />
Peter Bosma<br />
Simon Downs<br />
Piotr Dumala<br />
Alice Gambrell<br />
Neil Henderson<br />
Michael Keane<br />
Clare Kitson<br />
Aki Koike<br />
Hye-Kyung Lee<br />
Lei-Lei Li<br />
Sarah Lightman<br />
Daisuke Okeda<br />
Marco Pellitteri<br />
anime<br />
Rayna Denison<br />
Hye-Kyung Lee<br />
Anish Kapoor<br />
Mike K<strong>in</strong>g<br />
anthropology<br />
Leila Amaral<br />
apocalyptic moment<br />
Rikke Platz Cortsen<br />
apparel<br />
Veena Chattaraman
apparel design<br />
Jonathan Gander<br />
Alison Rieple<br />
appearances<br />
Joanne F<strong>in</strong>kelste<strong>in</strong><br />
applied arts<br />
Carol<strong>in</strong>a Marielli Barreto<br />
Rejane Galvão Cout<strong>in</strong>ho<br />
applied drama<br />
David Grant<br />
applied theatre<br />
Teresa A Fisher<br />
Kathar<strong>in</strong>e Low<br />
applied visual art<br />
Glen Coutts<br />
appreciation skills<br />
Kazuhiro Ishizaki<br />
Wenchun Wang<br />
Apse of Lascaux<br />
Joseph Nechvatal<br />
archaeology<br />
Gillian Robertson<br />
archeology<br />
Cordelia Hanel<br />
archetypes<br />
Giorgio Alberti<br />
architectural design education<br />
Jamal Al-Qawasmi<br />
Buthayna Eilouti<br />
Janne Morton<br />
architectural theory<br />
Sana Murrani<br />
architecture<br />
Peter Anders<br />
Rachel Armstrong<br />
Kim Berman<br />
Simon Chadwick<br />
Joanna Crotch<br />
Kate Davies<br />
Tania Fraga<br />
Mario Gerosa<br />
Cordelia Hanel<br />
Edward Hollis<br />
Ted Krueger<br />
Jonas Major<br />
Stanley Mathews<br />
Greg More<br />
Stuart Munro<br />
Shaun Murray<br />
Sylvia Nagl<br />
Fabian Neuhaus<br />
J. Fiona Peterson<br />
Mike Phillips<br />
Felix Robb<strong>in</strong>s<br />
Elizabeth Sikiaridi<br />
Emmanuel Vercruysse<br />
Karen Wilson Baptist<br />
Mal<strong>in</strong> Zimm<br />
archives<br />
Sue Breakell<br />
Argent<strong>in</strong>a<br />
Laura Malosetti Costa<br />
Ariella Azoulay<br />
Daniel Palmer<br />
Jessica Whyte<br />
Arnheim<br />
Shilpa Venkatachalam<br />
art<br />
Beatriz Acevedo<br />
Naren Barfield<br />
Carol<strong>in</strong>a Marielli Barreto<br />
David Bell<br />
Kim Berman<br />
Roger M. Buergel<br />
Pavel Büchler<br />
David Campany<br />
Susan Carden<br />
Oron Catts<br />
Catal<strong>in</strong>a Cepeda<br />
Veena Chattaraman<br />
Danielle Child<br />
Tara Chittenden<br />
Sheila de Rosa<br />
Çigdem Demir<br />
María Del Río Diéguez<br />
Hendrik Folkerts<br />
Richard Forster<br />
Rejane Galvão Cout<strong>in</strong>ho<br />
Jillian Hamilton<br />
Andy Hewitt<br />
Barbara Howey<br />
Luke Jaaniste<br />
Mel Jordan<br />
Iryna Kuksa<br />
Marius Kw<strong>in</strong>t<br />
Tarja-Kaar<strong>in</strong>a Laamanen<br />
José María Mesías Lema<br />
Shu-Y<strong>in</strong>g Liu<br />
Yorgos Loizos<br />
Yve Lomax<br />
Hans Maes<br />
Francesco Mariotti<br />
Christian Mieves<br />
Max Moswitzer<br />
Toshio Naoe<br />
Selavy Oh<br />
Mart<strong>in</strong>a Paatela-Niem<strong>in</strong>en<br />
Brian Reff<strong>in</strong> Smith<br />
Hannele Weir<br />
Mike White<br />
David Wood<br />
Tomaz Zupancic<br />
art and design<br />
Amanda Bill<br />
Daniela Büchler<br />
Ruth D<strong>in</strong>een<br />
Julia Gaimster<br />
Gill Greaves<br />
Richard Heatly<br />
Marie Jefsiout<strong>in</strong>e<br />
David Richmond<br />
Jules Dorey Richmond<br />
Keith Trigwell<br />
art and design curriculum<br />
John Steers<br />
art and design education<br />
Glen Coutts<br />
Darryl Hock<strong>in</strong>g<br />
art and design participatory<br />
<strong>research</strong><br />
Bob Jerrard<br />
art and politics<br />
Toni Ross<br />
art and science<br />
Brigitta Zics<br />
art and social engagement<br />
Mel Jordan<br />
art and technology<br />
Tania Fraga
art appreciation<br />
Clovis Blackwell<br />
Makoto Ishikawa<br />
Kazuhiro Ishizaki<br />
Wenchun Wang<br />
art as cognition<br />
Ourania Kouvou<br />
art as <strong>research</strong><br />
Robyn Gibson<br />
art critic<br />
Mart<strong>in</strong> Patrick<br />
art curriculum<br />
Jorge Gumbe<br />
art development<br />
Lesley Seeger<br />
art education<br />
Anne Bamford<br />
Ruth Beer<br />
Erik Borg<br />
Madele<strong>in</strong>e Brens<br />
Martha Christopoulou<br />
Glen Coutts<br />
Hillary Cunliffe-Charlesworth<br />
Marie-Louise Damen<br />
Belidson Dias<br />
Adele Flood<br />
Bjarne Sode Funch<br />
Clayton Funk<br />
David Gall<br />
Mette Gårdvik<br />
Ken Garland<br />
Robyn Gibson<br />
Jeffrey B. Grubbs<br />
Folkert Haanstra<br />
Kai Hakkara<strong>in</strong>en<br />
Andy Hewitt<br />
Richard Hickman<br />
L<strong>in</strong> Holdridge<br />
Edward Hollis<br />
Marjo van Hoorn<br />
Zhifan Hu<br />
Michael I. Jackson<br />
Albert Jewell<br />
Ami Kantawala<br />
Lisa Kay<br />
Ourania Kouvou<br />
Sheng Kuan Chung<br />
George Kyeyune<br />
Vasiliki Labitsi<br />
Nancy Lampert<br />
Angélica Lima Cruz<br />
Katy Macleod<br />
Rachel Mason<br />
Mike McAuley<br />
Adetty Pérez Miles<br />
Malcolm Miles<br />
Kathryn Moore<br />
Judith Mottram<br />
Nana Afia Opoku–Asare<br />
Willy Oud<br />
Kyong-Mi Paek<br />
Maria Jesús Agra Pardiñas<br />
Analice Pillar<br />
Eliza Pitri<br />
Antti Raike<br />
Joanna Rees<br />
Rebecca Reynolds<br />
Susan S<strong>in</strong>k<strong>in</strong>son<br />
Jill Smith<br />
Deborah L Smith-Shank<br />
Ismail Özgür Soğancı<br />
Robert W. Sweeny<br />
Cheung-on Tam<br />
Rachel de Sousa Vianna<br />
Pete Worrall<br />
Christ<strong>in</strong>e Woywod<br />
art education <strong>in</strong> Australia<br />
Robyn Gibson<br />
art encounter<br />
Bjarne Sode Funch<br />
art expression<br />
Jhong Sook Oh<br />
art history<br />
David Bell<br />
Jacquel<strong>in</strong>e Chanda<br />
Hendrik Folkerts<br />
Nick Haeffner<br />
Shelby Moser<br />
Stephanie Shestakow<br />
Shepherd Ste<strong>in</strong>er<br />
Blake Stimson<br />
Hilde Van Gelder<br />
ShiPu Wang<br />
Nigel Whiteley<br />
art <strong>in</strong>stallation<br />
Francesco Mariotti<br />
art <strong>in</strong>stallations<br />
Yorgos Loizos<br />
art <strong>in</strong>to life<br />
Graham Coulter-Smith<br />
art materials<br />
Biljana C Fredriksen<br />
art object<br />
Åsa Andersson<br />
art pedagogy<br />
Howard Riley<br />
art practice<br />
Silke Dettmers<br />
Andrew Hunt<br />
Georg<strong>in</strong>a Jackson<br />
Sarah Lightman<br />
Chris Smith<br />
art <strong>research</strong><br />
Jennifer Kanary Nikolov(a)<br />
Art Spiegelman<br />
Nicole McDaniel<br />
art student<br />
Clovis Blackwell<br />
art study<br />
Hideshi Uda<br />
art technology<br />
Sherry Mayo<br />
art theory<br />
Nicholas Davey<br />
Kerst<strong>in</strong> Mey<br />
Wood Roberdeau<br />
art therapy<br />
María Del Río Diéguez<br />
Marián López Fernández-Cao<br />
Matilde Mollá G<strong>in</strong>er<br />
Gill Greaves<br />
Albert Jewell<br />
Lisa Kay<br />
Anne Lanceley<br />
Usha Menon<br />
Miguel Domínguez Rigo<br />
Julio Romero Rodríguez<br />
Ana Eva Iribas Rudín<br />
Rosaura Navajas Seco<br />
Lesley Seeger<br />
Mirjana Tomasevic Dancevic<br />
Catal<strong>in</strong>a Rigo Vanrell
art writ<strong>in</strong>g<br />
Silke Dettmers<br />
Mary O'Neill<br />
art. transience<br />
Jane Darke<br />
art/life divide<br />
Mart<strong>in</strong> Patrick<br />
art-based <strong>research</strong><br />
Tiiu Poldma<br />
Mary Stewart<br />
artefacts<br />
Krist<strong>in</strong>a Niedderer<br />
artful visual analysis<br />
Tiiu Poldma<br />
Mary Stewart<br />
artificial <strong>in</strong>telligence<br />
Carlos Castellanos<br />
Soichiro Tsuda<br />
artificial <strong>in</strong>telligence (AI)<br />
Fred McVittie<br />
artificial life<br />
Bruce Damer<br />
Mart<strong>in</strong> M. Hanczyc<br />
Takashi Ikegami<br />
Joseph Nechvatal<br />
artist<br />
Mick Wilson<br />
Toru Yoshikawa<br />
artist book<br />
Jen Webb<br />
artistic practice<br />
Ruth Pelzer-Montada<br />
artistic project<br />
Carl-Peter Buschkühle<br />
artistic <strong>research</strong><br />
Jean-Paul Fourmentraux<br />
artist-practitioners<br />
Julia Moszkowicz<br />
artist's book<br />
Mark Leahy<br />
artists books<br />
Pascal Lefevre<br />
artographic enquiry<br />
Mel Alexenberg<br />
arts<br />
Sophia Krzys Acord<br />
Kim Charnley<br />
Antonia Clews<br />
Yassaman Imani<br />
Andrew Picker<strong>in</strong>g<br />
arts based <strong>research</strong><br />
Barbara Bickel<br />
arts education<br />
Maria Flôr Dias<br />
Christopher Klopper<br />
Elisa Lessa<br />
arts management<br />
John Elsom<br />
arts market<strong>in</strong>g<br />
Chris Hand<br />
arts <strong>research</strong><br />
Margarete Jahrmann<br />
Anita S<strong>in</strong>ner<br />
arts therapy<br />
Hod Orkibi<br />
arts-based education<br />
Cynthia M. Morawski<br />
arts-based educational<br />
<strong>research</strong><br />
Ricardo Marín Viadel<br />
Joaquín Roldán Ramírez<br />
arts-based <strong>research</strong><br />
Ruth Beer<br />
Kit Grauer<br />
Kathryn Ricketts<br />
Paul<strong>in</strong>e Sameshima<br />
Anni<strong>in</strong>a Suom<strong>in</strong>en<br />
Gu Xiong<br />
art-school critique<br />
Mary Anne Francis<br />
artwork<br />
Nicholas Davey<br />
Chris Smith<br />
artworks<br />
Kather<strong>in</strong>a Danko-McGhee<br />
Anja Kraus<br />
artworld<br />
Howard Riley<br />
artwrit<strong>in</strong>g<br />
Neil Mulholland<br />
art-writ<strong>in</strong>g<br />
Mary Anne Francis<br />
assessment<br />
Doug Boughton<br />
Rob Cowdroy<br />
Ruth D<strong>in</strong>een<br />
Dita Judith Federman<br />
Chris McKillop<br />
Anthony Williams<br />
Mantz Yorke<br />
assessment for learn<strong>in</strong>g<br />
Erik Bohemia<br />
Kerry Harman<br />
Assessment for Learn<strong>in</strong>g<br />
Liz McDowell<br />
assessment of reflection<br />
Christ<strong>in</strong>e Hardy
assessment task<br />
Mark Evans<br />
associative media<br />
Dew Harrison<br />
astrophysics<br />
Donna J. Cox<br />
atelic realism<br />
Matthew Poole<br />
Athens<br />
Myrto Tsilimpounidi<br />
Atlantic World<br />
Stephanie Shestakow<br />
attachment<br />
Sara Malou Strandvad<br />
attitude<br />
Bjarne Sode Funch<br />
audience<br />
A.B.D Nadja Masura<br />
audience behaviour<br />
Chris Hand<br />
audio art<br />
Joseph Nechvatal<br />
audio-visual<br />
David Harte<br />
Augé<br />
Mary Maclean<br />
augmented reality<br />
Peter Stott<br />
augmented reality architecture<br />
Peter Anders<br />
aura<br />
Roy Boyne<br />
Australia<br />
Stuart Cunn<strong>in</strong>gham<br />
Graeme Harper<br />
Peter Higgs<br />
Australian c<strong>in</strong>ema<br />
Ian Henderson<br />
Australian landscape<br />
Julia Peck<br />
Australian literature<br />
Ian Henderson<br />
authentic learn<strong>in</strong>g<br />
Folkert Haanstra<br />
authenticity<br />
Christian W. Schneider<br />
author<br />
John Fox<br />
Jack Klaff<br />
authoritarian<br />
H. L. Hix<br />
author's right<br />
Veronique Chossat<br />
autism<br />
Melissa Trim<strong>in</strong>gham<br />
autobiography<br />
Rea Dennis<br />
Elisabeth El Refaie<br />
Alexander Kelly<br />
Tahneer Oksman<br />
Christian W. Schneider<br />
Nicholas Theisen<br />
autoethnography<br />
Mel Alexenberg<br />
Anni<strong>in</strong>a Suom<strong>in</strong>en<br />
auto-ethnography<br />
Cynthia M. Morawski<br />
automotive mechanics<br />
Rita Marcalo<br />
autonomous agent<br />
Mark A. Bedau<br />
avant-garde<br />
Mar<strong>in</strong>a Vishmidt<br />
avant-garde book arts<br />
Sheena Calvert<br />
avant-gardes<br />
Andrés Romero-Jódar<br />
avatar<br />
Elif Ayiter<br />
Gregory P. Garvey<br />
Max Moswitzer<br />
Selavy Oh<br />
avatars<br />
Michael R. Solomon<br />
awkwardness<br />
Hannah Jones<br />
ballet<br />
Bill Ribbans<br />
bamboo<br />
Rebecca Reubens<br />
bar codes<br />
Matteo Ciastellardi<br />
Andrea Cruciani<br />
barkcloth<br />
Cather<strong>in</strong>e Gombe<br />
barriers to reflection<br />
Christ<strong>in</strong>e Hardy
asic fashion<br />
Francesco Morace<br />
battlefields<br />
Paul Gough<br />
beach<br />
Joana Duarte Bernardes<br />
Peter Burleigh<br />
Jane Darke<br />
Christian Mieves<br />
beauty<br />
Laura Hurd Clarke<br />
Hans Maes<br />
Bec<br />
Matthew Fuller<br />
becom<strong>in</strong>g<br />
Steve Sw<strong>in</strong>dells<br />
becom<strong>in</strong>g-animal<br />
Ruth Jones<br />
behaviour<br />
Ray Gallon<br />
behavioural spaces<br />
Sana Murrani<br />
be<strong>in</strong>g<br />
Kate McGowan<br />
Benjam<strong>in</strong><br />
Emily Orley<br />
bereavement<br />
Paul G. Dempster<br />
Bertolt Brecht<br />
Andrés Romero-Jódar<br />
bigheads<br />
Maria Flôr Dias<br />
Bigheads<br />
Elisa Lessa<br />
Angélica Lima Cruz<br />
Bill Viola<br />
Mike K<strong>in</strong>g<br />
b<strong>in</strong>ary logic<br />
Joseph E. Brenner<br />
bio-art<br />
Eduardo Kac<br />
bioelectrical body<br />
Paul Woodrow<br />
bio-electricity<br />
N<strong>in</strong>a Czegledy<br />
biographical <strong>in</strong>quiry<br />
Brent Wilson<br />
biography<br />
Alexander Kelly<br />
biology<br />
Ian Dawe<br />
Christian Kerrigan<br />
bio-magnetism<br />
N<strong>in</strong>a Czegledy<br />
biomedia<br />
Natasha Vita-More<br />
biometrics<br />
Monika Codourey<br />
biomorphology<br />
Inês Secca Ruivo<br />
biophotonics<br />
Zachary Jones<br />
bio-poetry<br />
Eduardo Kac<br />
biopsychology<br />
L<strong>in</strong>da J. Thomson<br />
bipolar<br />
Peter Amsel<br />
Birm<strong>in</strong>gham<br />
Lisa De Propris<br />
bisociation<br />
Hannah Jones<br />
blogg<strong>in</strong>g<br />
Alison Hsiang-Yi Liu<br />
blogs<br />
Tara Chittenden<br />
Chris Speed<br />
Boal<br />
Teresa A Fisher<br />
body<br />
Amos Bianchi<br />
Ruth Pelzer-Montada<br />
Mofizur Rhaman<br />
body image<br />
Michael R. Solomon<br />
body <strong>in</strong>teraction<br />
Diane Gromala<br />
body <strong>in</strong>terface<br />
J<strong>in</strong>sil Seo<br />
body Jacques Rancière<br />
Bridget Crone<br />
body representation<br />
Fernando Hernandez<br />
Judit Vidiella<br />
body-ground<br />
Gillian Robertson
ook art<br />
Johanna Drucker<br />
book arts<br />
Mark Leahy<br />
book-mak<strong>in</strong>g<br />
Shei-chau Wang<br />
bottom-up<br />
Ellen K. Levy<br />
boundary<br />
Fernando Leal Audirac<br />
boundary organizations<br />
Jean-Paul Fourmentraux<br />
boundary representation<br />
(BRep)<br />
Alexander Pasko<br />
Turlif Vilbrandt<br />
Carl Vilbrandt<br />
bra<strong>in</strong>flow<strong>in</strong>g<br />
Gloria Gómez-Diago<br />
bra<strong>in</strong>storm<strong>in</strong>g<br />
Çigdem Demir<br />
Gloria Gómez-Diago<br />
British Guyana<br />
Paul Buhle<br />
British studies<br />
Marius Kw<strong>in</strong>t<br />
broadcast<strong>in</strong>g<br />
Clare Kitson<br />
broadsheet<br />
Roberto Bartual<br />
Buddhism<br />
Ren-Lai Hwang<br />
built environment education<br />
Rachel de Sousa Vianna<br />
bureaucracy<br />
Alan Coll<strong>in</strong>s<br />
bus<strong>in</strong>ess<br />
Paul Trott<br />
bus<strong>in</strong>ess development<br />
Ellen O’Hara<br />
Byzant<strong>in</strong>e<br />
Kater<strong>in</strong>a Karoussos<br />
CAAD<br />
Jamal Al-Qawasmi<br />
camera designer<br />
Maarten Vanvolsem<br />
Canada<br />
Adam Lauder<br />
Joanna Rees<br />
cannabis<br />
Peter Stott<br />
capital<br />
Mar<strong>in</strong>a Vishmidt<br />
capitalism<br />
Jim McGuigan<br />
Mar<strong>in</strong>a Vishmidt<br />
Carl Gustav Jung<br />
Giorgio Alberti<br />
cartoon<br />
Hans Maes<br />
case study<br />
Leslie Cunliffe<br />
Joachim Kettel<br />
Virg<strong>in</strong>ia Lowe<br />
Cedric Price<br />
Gonçalo Furtado<br />
Stanley Mathews<br />
censor<strong>in</strong>g and veil<strong>in</strong>g<br />
Simon Morley<br />
ceramic<br />
Imogen Racz<br />
ceramics<br />
M. James C. Crabbe<br />
Anita Ng Heung Sang<br />
Dr Graham McLaren<br />
CETL<br />
Dipti Bhagat<br />
Karen Bull<br />
Peter O'Neill<br />
Jane Osmond<br />
Mike Tovey<br />
CETL projects<br />
Terry F<strong>in</strong>nigan<br />
change<br />
Lewis Elton<br />
change <strong>in</strong>itiatives<br />
Terry F<strong>in</strong>nigan<br />
charity<br />
Michael I. Jackson<br />
Charlotte Salomon<br />
Griselda Pollock<br />
Cheddi Jagan<br />
Paul Buhle<br />
chemical comput<strong>in</strong>g<br />
Mart<strong>in</strong> M. Hanczyc<br />
Takashi Ikegami<br />
chemotaxis<br />
Mart<strong>in</strong> M. Hanczyc<br />
Takashi Ikegami<br />
child art<br />
Joe Adu- Agyem<br />
Mavis Enti
Y.S. Peligah<br />
children<br />
Jiří Barta<br />
Mirjana Tomasevic Dancevic<br />
children's books<br />
Vasiliki Labitsi<br />
childrens cognitive<br />
development<br />
Eliza Pitri<br />
children's draw<strong>in</strong>g<br />
Vasiliki Labitsi<br />
children's draw<strong>in</strong>gs<br />
Ourania Kouvou<br />
children's literature<br />
Jerome Fletcher<br />
childrens play<br />
Ruslan Slutsky<br />
Ch<strong>in</strong>a<br />
John A. Lent<br />
Lei-Lei Li<br />
Lucy Montgomery<br />
Jason Potts<br />
Ch<strong>in</strong>ese creative <strong>in</strong>dustries<br />
John Elsom<br />
Ch<strong>in</strong>ese culture<br />
Chen Xu<br />
Liu Yan<br />
Ch<strong>in</strong>ese teenagers<br />
Zhifan Hu<br />
Ch<strong>in</strong>ese traditional culture<br />
Christopher Crouch<br />
Ch<strong>in</strong>ese visual culture<br />
Christopher Crouch<br />
choral s<strong>in</strong>g<strong>in</strong>g<br />
Gunter Kreutz<br />
Don Stewart<br />
Chris Ware<br />
A. David Lewis<br />
Christianity<br />
Robert A. Erlew<strong>in</strong>e<br />
chronometry<br />
Alexander Sekatskiy<br />
c<strong>in</strong>ema<br />
Peter Bosma<br />
Sean Cubitt<br />
c<strong>in</strong>ematic languages<br />
Tara Chittenden<br />
city<br />
Karol<strong>in</strong>a Breguła<br />
city growth<br />
Susan Bagwell<br />
civil contract of photography<br />
Daniel Palmer<br />
Jessica Whyte<br />
civiliz<strong>in</strong>g process<br />
Ana Marta González<br />
classroom-based <strong>research</strong><br />
Christopher Klopper<br />
climate adaptation and<br />
mitigation<br />
Michael Evan Goodsite<br />
Ole John Nielsen<br />
cloth<strong>in</strong>g<br />
Ryan Sh<strong>in</strong><br />
Steve Willis<br />
clusters<br />
Susan Bagwell<br />
Jonathan Gander<br />
Alison Rieple<br />
Coates<br />
Ron Broglio<br />
Matthew Fuller<br />
co-creation<br />
Vuk Uskoković<br />
code<br />
Lucía Ayala<br />
codes<br />
Joel Cahen<br />
co-evolution<br />
Joel Cahen<br />
Carlos Castellanos<br />
cognition<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Clive Cazeaux<br />
Solange Cout<strong>in</strong>ho<br />
Bernard Darras<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
Eva Miranda<br />
Jan-Henn<strong>in</strong>g Raff<br />
Prabha Sahasrabudhe<br />
cognitive framework<br />
Peter Stott<br />
cognitive metaphor<br />
Barbara Lasserre<br />
cognitive neuroscience<br />
William P. Seeley<br />
cognitive science<br />
Mark Johnson<br />
cognitive systems<br />
Soichiro Tsuda<br />
coherence<br />
Carlos Augusto Moreira da<br />
Nóbrega
coherent design curriculum<br />
Elson Szeto<br />
Cold War<br />
Paul Buhle<br />
cold war mascul<strong>in</strong>ity<br />
Dirk G<strong>in</strong>dt<br />
collaboration<br />
Dipti Bhagat<br />
Barbara Bickel<br />
Johannes Birr<strong>in</strong>ger<br />
Ben Calvert<br />
Bernadette Casey<br />
Andrea Holland<br />
Javier Abad Mol<strong>in</strong>a<br />
Peter O'Neill<br />
Robert Wilsmore<br />
Trish Woods<br />
collaboration between school<br />
and museum<br />
Makoto Ishikawa<br />
collaborative creative<br />
processes<br />
Mogens Jacobsen<br />
Morten Søndergaard<br />
collaborative design pictorial<br />
representation diagram<br />
Buthayna Eilouti<br />
collaborative design<strong>in</strong>g<br />
Kai Hakkara<strong>in</strong>en<br />
Henna Lahti<br />
Pirita Seitamaa-Hakkara<strong>in</strong>en<br />
collaborative learn<strong>in</strong>g<br />
Erik Bohemia<br />
Kerry Harman<br />
Liz McDowell<br />
collective knowledge shar<strong>in</strong>g of<br />
professional practice<br />
Christopher Klopper<br />
collectivity<br />
Sana Murrani<br />
college students<br />
Shei-chau Wang<br />
comic book<br />
Andrés Romero-Jódar<br />
comics<br />
Rikke Platz Cortsen<br />
Elisabeth El Refaie<br />
John A. Lent<br />
Sarah Lightman<br />
Chris Murray<br />
Tahneer Oksman<br />
Marco Pellitteri<br />
Julia Round<br />
Marc S<strong>in</strong>ger<br />
Ian Williams<br />
comics studies<br />
Adrielle Mitchell<br />
commemoration<br />
Paul Gough<br />
commercial<br />
H. L. Hix<br />
commercial space<br />
Sharon Irish<br />
commodification<br />
Amanda M. C Brandellero<br />
Robert C. Kloosterman<br />
communication<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Astrid Enssl<strong>in</strong><br />
Stephen Farth<strong>in</strong>g<br />
Gloria Gómez-Diago<br />
Jung A. Huh<br />
Marco Pellitteri<br />
Elizabeth Sikiaridi<br />
Mirjana Tomasevic Dancevic<br />
Frans Vogelaar<br />
communication design<br />
Sandra E. Hoffmann Robbiani<br />
communication problems<br />
René Stettler<br />
communications<br />
Christ<strong>in</strong>e Geraghty<br />
communicative <strong>in</strong>teraction<br />
Darryl Hock<strong>in</strong>g<br />
Communities of Practice<br />
Alison Shreeve<br />
community<br />
Mirja Hiltunen<br />
Rita L. Irw<strong>in</strong><br />
Col<strong>in</strong> Murrell<br />
Helen Zigmond<br />
community art<br />
Glen Coutts<br />
Alfredo Palacios Garrido<br />
Pia Smith<br />
Theodore Stickley<br />
community arts<br />
Bess Frimodig<br />
C<strong>in</strong>dy Hasio<br />
Mart<strong>in</strong> Mulligan<br />
community development<br />
Rosie Meade<br />
Mae Shaw<br />
community groups<br />
Helen Turner<br />
community music<br />
Ross W. Prior<br />
community perception<br />
Malaika Sarco- Thomas<br />
community theatre<br />
Fiona Graham<br />
John Somers<br />
community worker<br />
Mae Shaw<br />
community-based art<br />
education<br />
Anita Ng Heung Sang
comparative religion<br />
Rob Harle<br />
competencies<br />
Anja Kraus<br />
complex adaptive systems<br />
Gilbertto Prado<br />
Clarissa Ribeiro<br />
complex systems<br />
Sana Murrani<br />
complexity<br />
Rachel Armstrong<br />
Harry Jamieson<br />
Sylvia Nagl<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
complexity and organization<br />
Gilbertto Prado<br />
Clarissa Ribeiro<br />
composition<br />
Peter Amsel<br />
computational art<br />
Murat Germen<br />
computational model<br />
Peter Stott<br />
computer<br />
Brian Reff<strong>in</strong> Smith<br />
computer art<br />
Tania Fraga<br />
computer model<strong>in</strong>g<br />
Seth Bullock<br />
computer simulation<br />
Seth Bullock<br />
Bruce Damer<br />
Computer Supported<br />
Collaborative Learn<strong>in</strong>g<br />
Antti Raike<br />
computer vision<br />
Max B. Kazemzadeh<br />
computer-generated art<br />
Michael Betancourt<br />
computers<br />
Paul Hamilton<br />
comput<strong>in</strong>g<br />
Soichiro Tsuda<br />
concept design<br />
Stephen Thompson<br />
concept development<br />
Anne Lord<br />
concept mapp<strong>in</strong>g<br />
Margo Blythman<br />
Joan Mull<strong>in</strong><br />
Susan Orr<br />
conceptions of reality<br />
René Stettler<br />
conceptual architecture<br />
Sana Murrani<br />
conceptual art<br />
Michael Betancourt<br />
Karol<strong>in</strong>a Breguła<br />
conceptual <strong>in</strong>trigue<br />
Howard Riley<br />
conceptual issues<br />
Krist<strong>in</strong>a Niedderer<br />
conceptual responses<br />
Sue Bailey<br />
L<strong>in</strong>da Drew<br />
Alison Shreeve<br />
conflict resolution<br />
Keren Barzilay-Shechter<br />
connected design<br />
Matteo Ciastellardi<br />
Andrea Cruciani<br />
connection<br />
A.B.D Nadja Masura<br />
connectivity<br />
Simon Roodhouse<br />
conscious art<br />
Robert Pepperell<br />
consciousness<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Joseph E. Brenner<br />
Isabelle Cho<strong>in</strong>ière<br />
Rob Harle<br />
John Harvey<br />
Stephen Jones<br />
Joseph Nechvatal<br />
Adrian Page<br />
conservation<br />
Emily Brady<br />
constituent orientation<br />
Brynjulf Tellefsen<br />
constra<strong>in</strong>t<br />
Brian Reff<strong>in</strong> Smith<br />
constra<strong>in</strong>ts<br />
Mart<strong>in</strong> Pichlmair<br />
constructed and manipulated<br />
imagery<br />
Anne Bamford<br />
Adele Flood<br />
construction of mean<strong>in</strong>g<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
constructionism<br />
James Edward Clayson<br />
constructivism<br />
Barbara de la Harpe<br />
J. Fiona Peterson
constructivist approach<br />
Julian Mal<strong>in</strong>s<br />
Chris McKillop<br />
consultation<br />
Mike White<br />
consum-authors<br />
Francesco Morace<br />
consumer behaviour<br />
David Leaver<br />
consumer culture<br />
Toni Ryynänen<br />
consumerism<br />
Sharon Irish<br />
consumption<br />
Mal<strong>in</strong> Zimm<br />
contemplation<br />
Shilpa Venkatachalam<br />
contemporary<br />
L<strong>in</strong>dsay Hughes<br />
Tomaz Zupancic<br />
contemporary art<br />
Jorella Andrews<br />
Susan Best<br />
Bridget Crone<br />
Alan Dunn<br />
Kenneth G. Hay<br />
Murat Germen<br />
Riikka Haapala<strong>in</strong>en<br />
Young Imm Kang Song<br />
Marius Kw<strong>in</strong>t<br />
Suhail Malik<br />
Malcolm Miles<br />
Maria Jesús Agra Pardiñas<br />
Matthew Poole<br />
Wood Roberdeau<br />
Hilde Van Gelder<br />
Victoria Worsley<br />
contemporary arts<br />
Peter Dallow<br />
contemporary culture<br />
Greg More<br />
Daniel Rub<strong>in</strong>ste<strong>in</strong><br />
contemporary experimental<br />
music<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
contemporary jewellery<br />
Jessica Turrell<br />
contemporary literature<br />
Marc S<strong>in</strong>ger<br />
contemporary novel<br />
David Simmons<br />
contemporary photography<br />
Nick Haeffner<br />
context<br />
L<strong>in</strong>dsay Hughes<br />
Mara Martnez Lirola<br />
contextual studies<br />
Erik Borg<br />
cont<strong>in</strong>ental philosophy<br />
Deneb Kozikoski Valereto<br />
convergence<br />
Neil Mulholland<br />
David Walker Barker<br />
conversation<br />
Ian Heywood<br />
cooperative learn<strong>in</strong>g<br />
Kerrie Corcoran<br />
Toshio Naoe<br />
Cheryl Sim<br />
co-production<br />
Sara Malou Strandvad<br />
copyright<br />
Veronique Chossat<br />
correspondence<br />
Rodrigo Velasco<br />
cortex<br />
Steve Grand<br />
cosmology<br />
David McConville<br />
cosmopolitanism<br />
Myrto Tsilimpounidi<br />
counterfeit crochet<br />
Otto von Busch<br />
country music history<br />
Daniel T. Ste<strong>in</strong><br />
craft<br />
Marjorie Cohee Manifold<br />
Keith Cumm<strong>in</strong>gs<br />
Tarja-Kaar<strong>in</strong>a Laamanen<br />
Dr Graham McLaren<br />
Francesco Morace<br />
Christ<strong>in</strong>e Ballengee Morris<br />
Robert Pulley<br />
Rebecca Reubens<br />
James H. Sanders III<br />
Kirsten Scott<br />
Jessica Turrell<br />
Trish Woods<br />
Mart<strong>in</strong> Woolley<br />
Karen Yair<br />
craft and wellbe<strong>in</strong>g<br />
S<strong>in</strong>ikka Hannele Pöllänen<br />
craft bus<strong>in</strong>ess models<br />
Ellen O’Hara<br />
craft education<br />
Krist<strong>in</strong>a Niedderer<br />
craft exhibition<br />
Otto von Busch<br />
craft <strong>in</strong> special education<br />
S<strong>in</strong>ikka Hannele Pöllänen
craft <strong>research</strong><br />
Krist<strong>in</strong>a Niedderer<br />
craft science<br />
S<strong>in</strong>ikka Hannele Pöllänen<br />
craft theory and practice<br />
Krist<strong>in</strong>a Niedderer<br />
craft-based design<br />
Tarja-Kaar<strong>in</strong>a Laamanen<br />
crafts<br />
Juan Carlos Pacheco Contreras<br />
Nithikul Nimkulrat<br />
Otto von Busch<br />
creation strategies<br />
Kjell Yngve Petersen<br />
creative<br />
Rob Huddleston<br />
Paul Whittaker<br />
creative and knowledge<br />
economy<br />
Montserrat Pareja-Eastaway<br />
creative arts<br />
Christopher Crouch<br />
Peter Dallow<br />
Janey Gordon<br />
Silvia Sovic<br />
creative arts <strong>research</strong><br />
Estelle Barrett<br />
creative briefs<br />
Darryl Hock<strong>in</strong>g<br />
creative Brita<strong>in</strong><br />
Alan Coll<strong>in</strong>s<br />
creative bus<strong>in</strong>ess park<br />
Chen Xu<br />
Liu Yan<br />
creative citizenship<br />
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
creative class<br />
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
Lisa De Propris<br />
creative cluster<br />
Lisa De Propris<br />
Michael Keane<br />
creative collaboration<br />
Tilmann L<strong>in</strong>dberg<br />
Christoph Me<strong>in</strong>el<br />
Christ<strong>in</strong>e Noweski<br />
creative companies<br />
Nick Barnes<br />
Adele Reid<br />
creative districts<br />
Michele Trimarchi<br />
creative economy<br />
Rachel C. Granger<br />
Christ<strong>in</strong>e Hamilton<br />
Ti<strong>in</strong>a Rautkorpi<br />
Nick Wilson<br />
creative expression<br />
Stanislav Roudavski<br />
creative <strong>in</strong>dustries<br />
Susan Bagwell<br />
Kather<strong>in</strong>e Champion<br />
Shaun Chang<br />
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
Roberta Comunian<br />
Rayna Denison<br />
Jo Foord<br />
David Harte<br />
Colette Henry<br />
Michael Keane<br />
Bastian Lange<br />
Hélène Mart<strong>in</strong>-Brelot<br />
Lucy Montgomery<br />
Jason Potts<br />
Paul<strong>in</strong>e White<br />
Nick Wilson<br />
creative <strong>in</strong>dustries policy<br />
Alan Coll<strong>in</strong>s<br />
creative <strong>in</strong>dustry<br />
Aki Koike<br />
Hye-Kyung Lee<br />
Lei-Lei Li<br />
creative labour<br />
Daniel Ashton<br />
creative management<br />
Chen Xu<br />
Liu Yan<br />
creative networks<br />
Kar<strong>in</strong> Drda-Kühn<br />
Dietmar Wiegand<br />
creative pedagogy<br />
K. W. Lau<br />
P. Y. Lee<br />
creative practice<br />
Nigel Green<br />
Edward Hollis<br />
Barbara Howey<br />
Jess Moriarty<br />
Brigitta Zics<br />
creative process<br />
Sue Breakell<br />
Val Diggle<br />
Rebecca Fortnum<br />
Clarissa Ribeiro<br />
Nigel Whiteley<br />
Victoria Worsley<br />
creative processes<br />
Kyong-Mi Paek<br />
creative regions<br />
Nick Clifton<br />
creative teach<strong>in</strong>g practices<br />
Robyn Gibson<br />
creative th<strong>in</strong>k<strong>in</strong>g<br />
Dew Harrison<br />
Barbara Rauch<br />
creative work<br />
Roberta Comunian
creative writ<strong>in</strong>g<br />
Matthew Bushell<br />
Mark Evans<br />
Jess Moriarty<br />
creative writ<strong>in</strong>g therapeutic<br />
writ<strong>in</strong>g<br />
Kate Evans<br />
creative-th<strong>in</strong>k<strong>in</strong>g techniques<br />
K. W. Lau<br />
P. Y. Lee<br />
creativity<br />
Joe Adu- Agyem<br />
Peter Amsel<br />
Amanda Bill<br />
Amanda M. C Brandellero<br />
Veronique Chossat<br />
Phil Cooke<br />
Kerrie Corcoran<br />
Graham Coulter-Smith<br />
Rob Cowdroy<br />
Leslie Cunliffe<br />
Peter Dallow<br />
Çigdem Demir<br />
Anna M Dempster<br />
Rayna Denison<br />
Ruth D<strong>in</strong>een<br />
Lewis Elton<br />
Mavis Enti<br />
Kate Evans<br />
Biljana C Fredriksen<br />
Hilda Ho<br />
Darryl Hock<strong>in</strong>g<br />
Andrea Holland<br />
Robert C. Kloosterman<br />
Ela<strong>in</strong>e Lally<br />
K. W. Lau<br />
P. Y. Lee<br />
Anne Massey<br />
Francesco Morace<br />
Y.S. Peligah<br />
Giovanni Piazza<br />
Natascha Radclyffe-Thomas<br />
Anna Reid<br />
Karen Richard<br />
Olivia Sagan<br />
Cheryl Sim<br />
Ian Solomonides<br />
Vuk Uskoković<br />
Anthony Williams<br />
Crime and Punishment<br />
Piotr Dumala<br />
crises<br />
Clive Dilnot<br />
crit<br />
Simon Chadwick<br />
Joanna Crotch<br />
Christ<strong>in</strong>e Percy<br />
criteria<br />
Daniela Büchler<br />
critic<br />
Claudia Sandoval<br />
critical<br />
Val Diggle<br />
Clive Dilnot<br />
Mar<strong>in</strong>a Vishmidt<br />
critical distance<br />
Simon Chadwick<br />
Joanna Crotch<br />
critical listen<strong>in</strong>g skills<br />
Andrew Dubber<br />
critical media practice<br />
Daniel Ashton<br />
critical pedagogy<br />
Adetty Pérez Miles<br />
critical reflection<br />
Lynette Sheridan Burns<br />
critical response<br />
Richard Woodfield<br />
critical review<br />
Simon Chadwick<br />
Joanna Crotch<br />
critical studies<br />
Rachel de Sousa Vianna<br />
critical theories<br />
Jeremy Spencer<br />
critical theory<br />
Nick Haeffner<br />
Suhail Malik<br />
Sunil Manghani<br />
Toni Ross<br />
Blake Stimson<br />
critical th<strong>in</strong>k<strong>in</strong>g<br />
Gerald<strong>in</strong>e Biddle-Perry<br />
Nancy Lampert<br />
Jenny Moon<br />
critical views<br />
Ana Marta González<br />
criticism<br />
Andy Hewitt<br />
Neil Mulholland<br />
Yukihiko Yoshida<br />
critique<br />
Mary Anne Francis<br />
cross-art form<br />
Helen Turner<br />
cross-border circulation<br />
Monika Codourey<br />
cross-cultural<br />
M. James C. Crabbe<br />
Maria Fulkova<br />
Makoto Ishikawa<br />
Teresa Tipton<br />
cross-culturalism<br />
Yang Liu<br />
cross<strong>in</strong>g values<br />
Jean-Paul Fourmentraux<br />
cross-media adaptation<br />
Julia Round<br />
cross-national survey<br />
Gunter Kreutz<br />
Don Stewart<br />
crossovers<br />
Brian Chalkley<br />
Marcus Verhagen
Cubism<br />
Kenneth G. Hay<br />
cultural and creative clusters<br />
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
cultural anthropology<br />
Martha Blassnigg<br />
cultural awareness<br />
Suzan Duygu Eristi<br />
cultural clusters<br />
Lisa De Propris<br />
cultural communities<br />
Marjorie Cohee Manifold<br />
cultural economics<br />
Chris Hand<br />
Michele Trimarchi<br />
cultural economy<br />
Kar<strong>in</strong> Drda-Kühn<br />
Dietmar Wiegand<br />
cultural exchange programmes<br />
Ismail Özgür Soğancı<br />
cultural good<br />
Veronique Chossat<br />
cultural identity<br />
Rob<strong>in</strong> M. Chandler<br />
cultural <strong>in</strong>dustries<br />
Amanda M. C Brandellero<br />
Shaun Chang<br />
Robert C. Kloosterman<br />
Marco Pellitteri<br />
cultural <strong>in</strong>dustry reforms<br />
Shaun Chang<br />
cultural <strong>in</strong>termediary<br />
Paul Clements<br />
cultural memory<br />
Barbara Howey<br />
cultural plurality<br />
Ajay Kumar<br />
cultural policy<br />
Jo Foord<br />
Michael Keane<br />
Iryna Kuksa<br />
Michele Trimarchi<br />
Karen Yair<br />
cultural politics of resistance<br />
Rosie Meade<br />
cultural practices<br />
Efrat Tseëlon<br />
cultural producer<br />
Andrew Gryf Paterson<br />
cultural studies<br />
Christ<strong>in</strong>e Geraghty<br />
Sunil Manghani<br />
Nicky Ryan<br />
Jane Tynan<br />
cultural tension<br />
Karol<strong>in</strong>a Breguła<br />
cultural theory<br />
Malcolm Miles<br />
culture<br />
Simon Downs<br />
Maria Flôr Dias<br />
Marjo van Hoorn<br />
Elisa Lessa<br />
Laura Malosetti Costa<br />
Jim McGuigan<br />
Hala F. Nassar<br />
Nana Afia Opoku–Asare<br />
Nicole Porter<br />
Ti<strong>in</strong>a Rautkorpi<br />
Hilde Van Gelder<br />
culture studies<br />
Marius Kw<strong>in</strong>t<br />
culture tourism <strong>in</strong> rural areas<br />
Dietmar Wiegand<br />
culture-led regeneration<br />
Roberta Comunian<br />
curat<strong>in</strong>g<br />
Clive Adams<br />
Erica E. Ander<br />
Roger M. Buergel<br />
Brian Chalkley<br />
Hendrik Folkerts<br />
Mario Gerosa<br />
Nick Haeffner<br />
Andrew Hunt<br />
Georg<strong>in</strong>a Jackson<br />
Anne Lanceley<br />
Adam Lauder<br />
Sarah Lightman<br />
Paul O'Neill<br />
Lawrence R<strong>in</strong>der<br />
Marcus Verhagen<br />
Mick Wilson<br />
curator<br />
Rebecca Coates<br />
curatorial studies<br />
Matthew Poole<br />
curriculum<br />
Them<strong>in</strong>a Kader<br />
Angélica Lima Cruz<br />
Prabha Sahasrabudhe<br />
Paul<strong>in</strong>e Sameshima<br />
curriculum aims and <strong>in</strong>tention<br />
Silvia Pizzocaro<br />
curriculum design<br />
Katja Fleischmann<br />
curriculum development<br />
Toshio Naoe<br />
cyber space-time<br />
Joseph E. Brenner<br />
cyber-archaeology<br />
Maurizio Forte<br />
Gregorij Kurillo
cybernetic observatory<br />
Luiz Velho<br />
cybernetics<br />
Andrew Picker<strong>in</strong>g<br />
cyberspace<br />
Peter Anders<br />
cybrids<br />
Peter Anders<br />
Czech animation<br />
Jiří Barta<br />
dada<br />
Sheena Calvert<br />
Dada<br />
Victoria de Rijke<br />
dance<br />
Johannes Birr<strong>in</strong>ger<br />
Isabelle Cho<strong>in</strong>ière<br />
Shu-Y<strong>in</strong>g Liu<br />
Rita Marcalo<br />
Bill Ribbans<br />
Pia Smith<br />
Malaika Sarco- Thomas<br />
dance and ballet<br />
Yukihiko Yoshida<br />
dance and technologies<br />
Yukihiko Yoshida<br />
dance of agency<br />
Andrew Picker<strong>in</strong>g<br />
dance therapy<br />
Nancy Beardall<br />
Danish film <strong>in</strong>dustry<br />
Chris Mathieu<br />
dark play<br />
Claire H<strong>in</strong>d<br />
data visualization<br />
N<strong>in</strong>a Czegledy<br />
database aesthetics<br />
Bill Seaman<br />
database c<strong>in</strong>ema<br />
Anna Laskari<br />
Iro Laskari<br />
David Mazzucchelli<br />
Paul Atk<strong>in</strong>son<br />
David Small<br />
Øyv<strong>in</strong>d Vågnes<br />
daydream<br />
Dew Harrison<br />
Barbara Rauch<br />
death<br />
Paul G. Dempster<br />
Karen Wilson Baptist<br />
decentralization<br />
Gal<strong>in</strong>a Gornostaeva<br />
deception<br />
Joanne F<strong>in</strong>kelste<strong>in</strong><br />
deconstruction<br />
Francis Halsall<br />
Jeremy Spencer<br />
deep<br />
Joseph Nechvatal<br />
def<strong>in</strong>ition<br />
Chris Smith<br />
Deleuze/Guattariritual<br />
Ruth Jones<br />
democracy<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
denial of black presence<br />
Daniel T. Ste<strong>in</strong><br />
de-personalization<br />
Gregory P. Garvey<br />
depression<br />
Kate Evans<br />
de-realization<br />
Gregory P. Garvey<br />
design<br />
Nick Barnes<br />
Suzanne Barnes<br />
Dipti Bhagat<br />
Sue Breakell<br />
M<strong>in</strong>acha Cam<strong>in</strong>o<br />
Veena Chattaraman<br />
Teena Clerke<br />
Christopher Crouch<br />
Hillary Cunliffe-Charlesworth<br />
Stephen Farth<strong>in</strong>g<br />
Cather<strong>in</strong>e Gombe<br />
Gloria Gómez-Diago<br />
Cecilia Häggström<br />
Jillian Hamilton<br />
Richard Hickman<br />
Rob Huddleston<br />
Yassaman Imani<br />
Luke Jaaniste<br />
Bob Jerrard<br />
Iryna Kuksa<br />
Marius Kw<strong>in</strong>t<br />
Barbara Lasserre<br />
Yorgos Loizos<br />
Jonas Major<br />
Anne Massey<br />
Dr Graham McLaren<br />
Hala F. Nassar<br />
Darren Newbury<br />
Peter O'Neill<br />
J. Fiona Peterson<br />
Nicole Porter<br />
Jan-Henn<strong>in</strong>g Raff<br />
Adele Reid<br />
Rebecca Reubens<br />
Felix Robb<strong>in</strong>s<br />
Inês Secca Ruivo<br />
Chris Rust<br />
Toni Ryynänen<br />
Chetan S. Sankar<br />
Cal Swann<br />
Emmanuel Vercruysse<br />
Paul Whittaker<br />
Mart<strong>in</strong> Woolley<br />
Joonsung Yoon<br />
Christoph Zellweger<br />
design activities<br />
Nicolette Lee
Gav<strong>in</strong> Melles<br />
Stella Tan<br />
design activity<br />
Tarja-Kaar<strong>in</strong>a Laamanen<br />
design and architecture<br />
Barbara de la Harpe<br />
design and healthcare<br />
Chris Rust<br />
design articulation<br />
Julieanna Preston<br />
design cognition<br />
Tilmann L<strong>in</strong>dberg<br />
Christoph Me<strong>in</strong>el<br />
Christ<strong>in</strong>e Noweski<br />
design communication<br />
Shaun Murray<br />
design discourse<br />
Jurgen Faust<br />
Elson Szeto<br />
design discourses<br />
Tilmann L<strong>in</strong>dberg<br />
Christoph Me<strong>in</strong>el<br />
Christ<strong>in</strong>e Noweski<br />
design education<br />
Noam Austerlitz<br />
Erik Borg<br />
Katja Fleischmann<br />
Henna Lahti<br />
Barbara Lasserre<br />
K. W. Lau<br />
P. Y. Lee<br />
Kathryn Moore<br />
Christ<strong>in</strong>e Percy<br />
Pamela Schenk<br />
Pirita Seitamaa-Hakkara<strong>in</strong>en<br />
Elson Szeto<br />
M<strong>in</strong>g-Y<strong>in</strong>g Yang<br />
Manlai You<br />
design experiment<br />
Kai Hakkara<strong>in</strong>en<br />
Henna Lahti<br />
Pirita Seitamaa-Hakkara<strong>in</strong>en<br />
design history<br />
D. J. Huppatz<br />
design <strong>in</strong>telligence<br />
Ingrid Böck<br />
Design Jury<br />
Helena Webster<br />
design knowledge<br />
Elson Szeto<br />
design learn<strong>in</strong>g and teach<strong>in</strong>g<br />
Philippa Lyon<br />
design media<br />
Julieanna Preston<br />
design methodology<br />
Jill Franz<br />
design modes<br />
Natalie Woolf<br />
design pedagogy<br />
Erik Bohemia<br />
Kerry Harman<br />
Liz McDowell<br />
design philosophy<br />
Stephen Thompson<br />
design practice<br />
Dipti Bhagat<br />
Mike McAuley<br />
Peter O'Neill<br />
design process<br />
Nicolette Lee<br />
Gav<strong>in</strong> Melles<br />
Julieanna Preston<br />
Pamela Schenk<br />
Stella Tan<br />
design project<br />
Helena Webster<br />
design projects<br />
Sue Bailey<br />
L<strong>in</strong>da Drew<br />
Alison Shreeve<br />
design <strong>research</strong><br />
David Durl<strong>in</strong>g<br />
Gav<strong>in</strong> Melles<br />
Antti Raike<br />
Abhigyan S<strong>in</strong>gh<br />
design solutions<br />
Cecilia Häggström<br />
design students<br />
Christ<strong>in</strong>a Read<strong>in</strong>g<br />
design studio<br />
Simon Chadwick<br />
Joanna Crotch<br />
design th<strong>in</strong>k<strong>in</strong>g<br />
Julian Mal<strong>in</strong>s<br />
design writ<strong>in</strong>g<br />
Julieanna Preston<br />
designers th<strong>in</strong>k<strong>in</strong>g<br />
Marlene Ivey<br />
Louise Valent<strong>in</strong>e<br />
design<strong>in</strong>g design<br />
Jurgen Faust<br />
design<strong>in</strong>g media<br />
Jurgen Faust<br />
design-th<strong>in</strong>k<strong>in</strong>g<br />
John Wood<br />
desire<br />
Kate McGowan<br />
deterritorialization<br />
Monika Codourey<br />
development<br />
Nana Afia Opoku–Asare
development education<br />
Cather<strong>in</strong>e Gombe<br />
developmental theory<br />
Kazuhiro Ishizaki<br />
Wenchun Wang<br />
developmental typeface test<strong>in</strong>g<br />
Robert Hillier<br />
devis<strong>in</strong>g<br />
Alexander Kelly<br />
dialogical studies East/West<br />
Gerald Cipriani<br />
dialogue<br />
Laura Chess<strong>in</strong><br />
Gregg Garf<strong>in</strong><br />
Marlene Ivey<br />
Cathy Turner<br />
Louise Valent<strong>in</strong>e<br />
differentiation<br />
Chris Mathieu<br />
digital<br />
Chris Byrne<br />
digital art<br />
Naren Barfield<br />
Rob Harle<br />
Talan Memmott<br />
Joseph Nechvatal<br />
Alexandra Saemmer<br />
digital art <strong>in</strong>stallations<br />
Gilbertto Prado<br />
Clarissa Ribeiro<br />
digital arts<br />
Johannes Birr<strong>in</strong>ger<br />
digital craft<br />
Kather<strong>in</strong>e Townsend<br />
digital creation<br />
Serge Bouchardon<br />
digital culture<br />
Andrew Dubber<br />
Daniel Rub<strong>in</strong>ste<strong>in</strong><br />
digital design<br />
Jamal Al-Qawasmi<br />
digital design practice<br />
Felix Robb<strong>in</strong>s<br />
digital doma<strong>in</strong><br />
Mart<strong>in</strong> Pichlmair<br />
digital economies<br />
Yasm<strong>in</strong> Ibrahim<br />
digital fiction<br />
Zuzana Husárová<br />
James Pope<br />
digital image<br />
Peter Osborne<br />
digital imagery<br />
Kenneth G. Hay<br />
digital imag<strong>in</strong>g<br />
Murat Germen<br />
Dr. Beth Harland<br />
Sherry Mayo<br />
digital literature<br />
Laura Borràs Castanyer<br />
Alexandra Saemmer<br />
digital literature and theory<br />
Astrid Enssl<strong>in</strong><br />
digital media<br />
Lily Díaz<br />
Bex Lewis<br />
Talan Memmott<br />
Alexandra Saemmer<br />
digital pa<strong>in</strong>t<strong>in</strong>g<br />
Margaret Dol<strong>in</strong>sky<br />
digital photography<br />
Antonia Bardis<br />
Daniel Rub<strong>in</strong>ste<strong>in</strong><br />
digital studio<br />
Buthayna Eilouti<br />
digital technologies<br />
Kather<strong>in</strong>e Townsend<br />
digital technology<br />
Pete Worrall<br />
digital visual culture<br />
Lilly (Li-Fen) Lu<br />
digitality<br />
Gordon Calleja<br />
Christian Schwager<br />
d<strong>in</strong>e<br />
Robert Hillier<br />
directional perception<br />
Arnold Cusmariu<br />
director<br />
Jack Klaff<br />
disability<br />
Rita Marcalo<br />
disaffect<br />
Bridget Crone<br />
discipl<strong>in</strong>ary status<br />
Christ<strong>in</strong>e Geraghty<br />
discourse<br />
Ingrid Böck<br />
Angela Devas<br />
H. L. Hix<br />
Barbara Lasserre<br />
Christ<strong>in</strong>e Percy<br />
Adele Senior<br />
discourse analysis<br />
Darryl Hock<strong>in</strong>g<br />
Julia Round
discoveries<br />
Christoph Bartneck<br />
Matthias Rauterberg<br />
discovery<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
discussion<br />
Curtis Tappenden<br />
disguise<br />
Mary Stokrocki<br />
displacement<br />
Anja Kraus<br />
dispositif<br />
Guillaume Paris<br />
dissem<strong>in</strong>at<strong>in</strong>g <strong>research</strong><br />
Richard Woodfield<br />
dissertation<br />
Margo Blythman<br />
Richard Heatly<br />
Joan Mull<strong>in</strong><br />
Susan Orr<br />
Keith Trigwell<br />
dissociative-identity disorder<br />
Gregory P. Garvey<br />
distance learn<strong>in</strong>g<br />
Laura Borràs Castanyer<br />
distractive <strong>in</strong>terventions<br />
Sue Hack<strong>in</strong>g<br />
distractor<br />
Ellen K. Levy<br />
distributed cognition<br />
Jan-Henn<strong>in</strong>g Raff<br />
disturbance<br />
Jane Graves<br />
diverse learners<br />
Terry F<strong>in</strong>nigan<br />
diversity<br />
Karol<strong>in</strong>a Breguła<br />
diversity education<br />
Anni<strong>in</strong>a Suom<strong>in</strong>en<br />
DIY culture<br />
Otto von Busch<br />
DMT<br />
Dita Judith Federman<br />
DNA<br />
Catal<strong>in</strong>a Cepeda<br />
doctoral education<br />
Darren Newbury<br />
Doctoral education<br />
Michael Kroel<strong>in</strong>ger<br />
doctoral programme plann<strong>in</strong>g<br />
Michael Kroel<strong>in</strong>ger<br />
doctoral programme structure<br />
Michael Kroel<strong>in</strong>ger<br />
doctoral supervision<br />
L<strong>in</strong>da Drew<br />
documentary<br />
Murat Germen<br />
documentation<br />
Sue Breakell<br />
Shezad Dawood<br />
Rebecca Fortnum<br />
Mary Maclean<br />
Rita Marcalo<br />
Chris Smith<br />
Victoria Worsley<br />
dome<br />
David McConville<br />
domestic <strong>in</strong>terior<br />
Mal<strong>in</strong> Zimm<br />
domesticity<br />
Wood Roberdeau<br />
drama<br />
Anne Fenech<br />
Hilda Ho<br />
Hod Orkibi<br />
Karen Richard<br />
John Somers<br />
Roger Wooster<br />
dramatic literature<br />
Beverly Redman<br />
dramaturge as midwife<br />
Fiona Graham<br />
dramaturgy<br />
Cathy Turner<br />
draw<strong>in</strong>g<br />
Ricardo Marín Viadel<br />
Kathy R<strong>in</strong>g<br />
Michael Schwab<br />
Curtis Tappenden<br />
Monika Weiss<br />
draw<strong>in</strong>g process<br />
Solange Cout<strong>in</strong>ho<br />
Bernard Darras<br />
Eva Miranda<br />
draw<strong>in</strong>g <strong>research</strong><br />
Pamela Schenk<br />
dreams<br />
Mal<strong>in</strong> Zimm<br />
dream-work<br />
Jane Graves<br />
dress<br />
Emil Gaul<br />
dwell<strong>in</strong>g<br />
Lily Markiewicz<br />
Andrea Thoma
dye<strong>in</strong>g processes<br />
Nana Afia Opoku–Asare<br />
dyes<br />
Nana Afia Opoku–Asare<br />
dynamic curricula<br />
Biljana C Fredriksen<br />
dynamic design<br />
Buthayna Eilouti<br />
dysk<strong>in</strong>esia<br />
Debbie Green<br />
Clare Park<br />
dyslexia<br />
Harriet Edwards<br />
Julia Lockheart<br />
Christoph Raatz<br />
Maziar Rae<strong>in</strong><br />
dyslexic<br />
Robert Hillier<br />
early childhood<br />
Biljana C Fredriksen<br />
early childhood education<br />
Ruslan Slutsky<br />
early c<strong>in</strong>ema<br />
Michael Punt<br />
Eastern Europe<br />
Marian Mazzone<br />
Eastern philosophy<br />
Semi Ryu<br />
eco-art<br />
Peder Anker<br />
ecological art<br />
Emily Brady<br />
ecology<br />
Peder Anker<br />
Kate Davies<br />
Cordelia Hanel<br />
Malaika Sarco- Thomas<br />
economic evolution<br />
Lucy Montgomery<br />
Jason Potts<br />
economic impact<br />
Roy Boyne<br />
economic policy<br />
Christ<strong>in</strong>e Ballengee Morris<br />
James H. Sanders III<br />
economic restructur<strong>in</strong>g<br />
Kather<strong>in</strong>e Champion<br />
economics<br />
Lloyd Chilvers<br />
Clive Dilnot<br />
Ellen O’Hara<br />
economy outcomes<br />
Nick Clifton<br />
Phil Cooke<br />
ecotones<br />
Anita S<strong>in</strong>ner<br />
education<br />
Joe Adu- Agyem<br />
David Bell<br />
Mie Buhl<br />
Pavel Büchler<br />
Catal<strong>in</strong>a Cepeda<br />
Kim Charnley<br />
Veena Chattaraman<br />
Helen J. Chatterjee<br />
Danielle Child<br />
Lloyd Chilvers<br />
Antonia Clews<br />
N<strong>in</strong>a Czegledy<br />
Kate Davies<br />
Çigdem Demir<br />
María Del Río Diéguez<br />
Mavis Enti<br />
Stephen Farth<strong>in</strong>g<br />
Marián López Fernández-Cao<br />
Maria Fulkova<br />
Ray Gallon<br />
Matilde Mollá G<strong>in</strong>er<br />
Fernando Hernandez<br />
Mirja Hiltunen<br />
Ren-Lai Hwang<br />
Iryna Kuksa<br />
Samantha Lawrie<br />
José María Mesías Lema<br />
Bex Lewis<br />
Yvonne L<strong>in</strong>coln<br />
Shu-Y<strong>in</strong>g Liu<br />
Yve Lomax<br />
Dr Graham McLaren<br />
Maria Mendona<br />
Javier Abad Mol<strong>in</strong>a<br />
Tony O'Connor<br />
Y.S. Peligah<br />
Ti<strong>in</strong>a Rautkorpi<br />
Ricardo Reis<br />
Miguel Domínguez Rigo<br />
Julio Romero Rodríguez<br />
Ana Eva Iribas Rudín<br />
Prabha Sahasrabudhe<br />
Rosaura Navajas Seco<br />
Mae Shaw<br />
Teresa Tipton<br />
Catal<strong>in</strong>a Rigo Vanrell<br />
Emmanuel Vercruysse<br />
Judit Vidiella<br />
Mick Wilson<br />
Roger Wooster<br />
Tomaz Zupancic<br />
educational discourses<br />
Erik Bohemia<br />
Kerry Harman<br />
Liz McDowell<br />
educational <strong>in</strong>tervention<br />
Magouliotis Apostolos<br />
Moraiti Tzeni<br />
educational <strong>research</strong><br />
Ricardo Marín Viadel<br />
Edward Casey<br />
Judith Tucker<br />
efficacy<br />
Lynette Sheridan Burns<br />
electrochemistry<br />
Zachary Jones<br />
electro-magnetic art<br />
N<strong>in</strong>a Czegledy<br />
electro-magnetism<br />
N<strong>in</strong>a Czegledy
electron microscopy<br />
Vuk Uskoković<br />
electronic learn<strong>in</strong>g contracts<br />
Marie Jefsiout<strong>in</strong>e<br />
electronic literature<br />
Serge Bouchardon<br />
Talan Memmott<br />
Scott Rettberg<br />
electronic marg<strong>in</strong><br />
Matteo Ciastellardi<br />
Andrea Cruciani<br />
e-literature<br />
Jerome Fletcher<br />
e-literature criticism<br />
Janez Strehovec<br />
embodied cognition<br />
Sophia Krzys Acord<br />
Fred McVittie<br />
Ian Sutherland<br />
embodied experience<br />
Sandra Alexander<br />
embodied heteroglossic spaces<br />
Kit Grauer<br />
Kathryn Ricketts<br />
Paul<strong>in</strong>e Sameshima<br />
Gu Xiong<br />
embodiment<br />
Carlos Castellanos<br />
Rea Dennis<br />
Paul Duncum<br />
Mark Johnson<br />
Ruth Jones<br />
Ted Krueger<br />
Samantha Lawrie<br />
Melissa Trim<strong>in</strong>gham<br />
embody<br />
Peter Stott<br />
emergence<br />
António Cerveira P<strong>in</strong>to<br />
Anna Laskari<br />
Iro Laskari<br />
Julia Moszkowicz<br />
emergent behavior<br />
Clarissa Ribeiro<br />
emerg<strong>in</strong>g artists<br />
Tyler Denmead<br />
Ricardo Peach<br />
emotion<br />
Michael J. Lowis<br />
Olivia Sagan<br />
emotions<br />
Noam Austerlitz<br />
Julia Gaimster<br />
Alison James<br />
empathy<br />
Dita Judith Federman<br />
employability<br />
Katja Fleischmann<br />
Sophie Harbour<br />
Jason Lee<br />
employment choices<br />
Manlai You<br />
employment preparation<br />
Manlai You<br />
employment statistics<br />
Stuart Cunn<strong>in</strong>gham<br />
Peter Higgs<br />
empowerment<br />
C<strong>in</strong>dy Hasio<br />
Mirja Hiltunen<br />
enactive <strong>in</strong>terface<br />
Luisa Paraguai<br />
encaustic<br />
Fernando Leal Audirac<br />
encounter<br />
Steve Dutton<br />
Emily Orley<br />
Steve Sw<strong>in</strong>dells<br />
energy<br />
Carlos Augusto Moreira da<br />
Nóbrega<br />
engagement<br />
Anne Fenech<br />
Julia Moszkowicz<br />
Anna Reid<br />
Ian Solomonides<br />
eng<strong>in</strong>eer<strong>in</strong>g<br />
Andrew Picker<strong>in</strong>g<br />
English for specific purposes<br />
Joan Turner<br />
engrav<strong>in</strong>g<br />
Roberto Bartual<br />
enquiry based learn<strong>in</strong>g<br />
Kirsten Hardie<br />
enquiry-based learn<strong>in</strong>g<br />
Lewis Elton<br />
entrepreneurship<br />
Anna M Dempster<br />
Colette Henry<br />
Bastian Lange<br />
entropy generation<br />
Andreas Schiffler<br />
environment<br />
Jale Erzen<br />
Kathy Miraglia<br />
Ricardo Reis<br />
Cathy Smilan<br />
Matt Smith<br />
environmental art<br />
Young Imm Kang Song<br />
environmental arts<br />
Andrew Gryf Paterson
environmental control<br />
Will Thorne<br />
environmental<br />
controlcybernetics<br />
Stephen A. Gage<br />
environmental design<br />
Shaun Murray<br />
environmental education<br />
Young Imm Kang Song<br />
environmentalism<br />
Peder Anker<br />
ephemerality<br />
Mary O'Neill<br />
epilepsy<br />
Rita Marcalo<br />
Erasmus<br />
Ismail Özgür Soğancı<br />
Eros<br />
Giorgio Alberti<br />
erotic art<br />
Hans Maes<br />
eroticism<br />
Isabelle Cho<strong>in</strong>ière<br />
Ian Dawe<br />
essayist<br />
Lawrence R<strong>in</strong>der<br />
essence<br />
Julia Moszkowicz<br />
Estonia<br />
Peeter L<strong>in</strong>nap<br />
e-studio<br />
Jamal Al-Qawasmi<br />
ethical art<br />
Jorella Andrews<br />
ethical phenomenology<br />
Gerald Cipriani<br />
ethics<br />
Emily Brady<br />
Ken Garland<br />
Stephen Jones<br />
Chris Mathieu<br />
Col<strong>in</strong> Murrell<br />
Deneb Kozikoski Valereto<br />
ethics and bias<br />
Natasha Vita-More<br />
ethnic m<strong>in</strong>ority enterprise<br />
Susan Bagwell<br />
ethnographical <strong>in</strong>quiry<br />
Brent Wilson<br />
ethnography<br />
Noam Austerlitz<br />
Jorge Gumbe<br />
Europe<br />
John A. Lent<br />
Evaristti<br />
Giovanni Aloi<br />
everyday aesthetics<br />
Wood Roberdeau<br />
everyday culture<br />
Francesco Morace<br />
everyday design<br />
Jan-Henn<strong>in</strong>g Raff<br />
evidence<br />
Ela<strong>in</strong>e Lally<br />
evidence-based policy<br />
Alan Coll<strong>in</strong>s<br />
evolution<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Bruce Damer<br />
Raquel Paricio Garcia<br />
Nicholas Tresilian<br />
excavation<br />
Gillian Robertson<br />
excess<br />
Joseph Nechvatal<br />
exegesis<br />
Jillian Hamilton<br />
Luke Jaaniste<br />
exhibition phenomenology<br />
Julia Moszkowicz<br />
exhibitions<br />
Imogen Racz<br />
Toru Yoshikawa<br />
expanded body<br />
Lucía Ayala<br />
expanded c<strong>in</strong>ema<br />
David McConville<br />
Duncan White<br />
expeditionary learn<strong>in</strong>g<br />
Kathy Miraglia<br />
Cathy Smilan<br />
experience<br />
L<strong>in</strong>dsay Hughes<br />
Luisa Paraguai<br />
experience of art<br />
Cheung-on Tam<br />
experience of time<br />
Maarten Vanvolsem<br />
experiential<br />
Kirsten Hardie<br />
experiential knowledge<br />
Krist<strong>in</strong>a Niedderer
L<strong>in</strong>den Reilly<br />
experiment<br />
Michael J. Lowis<br />
Curtis Tappenden<br />
experimental<br />
Jale Erzen<br />
Mar<strong>in</strong>a Vishmidt<br />
experimental poetry<br />
Eduardo Kac<br />
experimental visualization<br />
Brigitta Zics<br />
expertise<br />
Michael Jarvis<br />
expressive arts<br />
Keren Barzilay-Shechter<br />
expressive arts therapies<br />
Mitchell Kossak<br />
expressivity<br />
Nithikul Nimkulrat<br />
extended perception<br />
Diana Reed Slattery<br />
extended science ontology<br />
René Stettler<br />
exteroception<br />
Isabelle Cho<strong>in</strong>ière<br />
extra-curricular activities<br />
Leslie Cunliffe<br />
extreme environments<br />
Ted Krueger<br />
Fab at Home (FaH)<br />
Alexander Pasko<br />
Turlif Vilbrandt<br />
Carl Vilbrandt<br />
façade<br />
Stephen A. Gage<br />
Will Thorne<br />
facilitation<br />
Teresa A Fisher<br />
failure<br />
Emma Cocker<br />
family<br />
Seija Ulkuniemi<br />
family plann<strong>in</strong>g<br />
Debao Xiang<br />
fan art<br />
Marjorie Cohee Manifold<br />
fandom<br />
Rayna Denison<br />
Hye-Kyung Lee<br />
fashion<br />
Zygmunt Bauman<br />
Sheila Cliffe<br />
Colette Henry<br />
Laura Hurd Clarke<br />
Simona Segre Re<strong>in</strong>ach<br />
Kirsten Scott<br />
Mary Stokrocki<br />
fashion and homosexuality<br />
Dirk G<strong>in</strong>dt<br />
fashion design<br />
Kather<strong>in</strong>e Townsend<br />
fashion <strong>in</strong>dustry<br />
Jonathan Gander<br />
Alison Rieple<br />
fashion theory<br />
Efrat Tseëlon<br />
fear<br />
Peeter L<strong>in</strong>nap<br />
feedback<br />
Stephen Jones<br />
feel<strong>in</strong>g at home<br />
Lily Markiewicz<br />
feel<strong>in</strong>gs<br />
Mirjana Tomasevic Dancevic<br />
fem<strong>in</strong><strong>in</strong>ity<br />
Laura Hurd Clarke<br />
Maarit Mäkelä<br />
Mofizur Rhaman<br />
fem<strong>in</strong>ism<br />
Barbara Bickel<br />
Sheila de Rosa<br />
Belidson Dias<br />
Susan S<strong>in</strong>k<strong>in</strong>son<br />
Mar<strong>in</strong>a Vishmidt<br />
fem<strong>in</strong>ist art<br />
Ruth Pelzer-Montada<br />
fem<strong>in</strong>ist post-structuralism<br />
Jennifer Elsden-Clifton<br />
fem<strong>in</strong>ist theory<br />
Julia Jansen<br />
fetish object<br />
Jen Webb<br />
fiction<br />
Murat Germen<br />
Martha Patricia Niño Mojica<br />
Mal<strong>in</strong> Zimm<br />
field<br />
Carlos Augusto Moreira da<br />
Nóbrega<br />
field telephones<br />
Kieran Lyons<br />
figurative realm<br />
Adrielle Mitchell<br />
film<br />
Roy Boyne
Pavel Büchler<br />
Jane Darke<br />
Piotr Dumala<br />
Neil Henderson<br />
Jason Lee<br />
Chris Murray<br />
film and c<strong>in</strong>ema studies<br />
Martha Blassnigg<br />
film and television <strong>in</strong>dustry<br />
Gal<strong>in</strong>a Gornostaeva<br />
film and video<br />
Bridget Crone<br />
film <strong>in</strong>dustry<br />
Chris Hand<br />
Jason Lee<br />
film studies<br />
Antti Raike<br />
f<strong>in</strong>ance<br />
Mar<strong>in</strong>a Vishmidt<br />
f<strong>in</strong>e art<br />
M<strong>in</strong>acha Cam<strong>in</strong>o<br />
Jane Charlton<br />
Paul Coldwell<br />
Hillary Cunliffe-Charlesworth<br />
Mary Anne Francis<br />
Sophie Harbour<br />
Mel Jordan<br />
Judith Mottram<br />
Ken Neil<br />
f<strong>in</strong>e arts curriculum<br />
Derek Whitehead<br />
first cell<br />
Mart<strong>in</strong> M. Hanczyc<br />
Takashi Ikegami<br />
first–order and third–order<br />
design<br />
Jurgen Faust<br />
flânerie<br />
Rodrigo Velasco<br />
flock behaviour<br />
Anna Laskari<br />
Iro Laskari<br />
flow of energy<br />
Diane Gromala<br />
J<strong>in</strong>sil Seo<br />
fluxus<br />
Marian Mazzone<br />
food<br />
Ryan Sh<strong>in</strong><br />
Steve Willis<br />
Forbes Burnham<br />
Paul Buhle<br />
forensic psychiatry<br />
Hilda Ho<br />
Karen Richard<br />
forgett<strong>in</strong>g<br />
Jane Graves<br />
formalist aesthetics<br />
Tim Stephens<br />
formative assessment feedback<br />
Bernadette Blair<br />
foundation degree<br />
Jane Tynan<br />
four-fold logic<br />
John Wood<br />
fractal art<br />
Mehrdad Garousi<br />
fragmentation<br />
Sally J. Morgan<br />
fragmented mean<strong>in</strong>gs of design<br />
Elson Szeto<br />
frame<br />
René Berger<br />
free writ<strong>in</strong>g<br />
Kate Evans<br />
freedom<br />
Zygmunt Bauman<br />
Jane Graves<br />
freedom and dignity<br />
Carl-Peter Buschkühle<br />
freelance writer<br />
Jack Klaff<br />
freeze-frames<br />
Sarah Tremlett<br />
French corporals<br />
Kieran Lyons<br />
Fun Home<br />
Miriam Brown Spiers<br />
Fun Palace<br />
Stanley Mathews<br />
function representation (FRep)<br />
Alexander Pasko<br />
Turlif Vilbrandt<br />
Carl Vilbrandt<br />
functional-emotional<br />
Inês Secca Ruivo<br />
future<br />
Fernando Leal Audirac<br />
future of craft<br />
Krist<strong>in</strong>a Niedderer<br />
future practice<br />
Stephen Thompson<br />
future studies<br />
Natasha Vita-More
futurism<br />
Roy Boyne<br />
galleries<br />
Judith Mottram<br />
gallery education<br />
Maria Fulkova<br />
Makoto Ishikawa<br />
Teresa Tipton<br />
game culture<br />
Margarete Jahrmann<br />
game design<br />
Mart<strong>in</strong> Pichlmair<br />
Andreas Schiffler<br />
game physics<br />
Andreas Schiffler<br />
gamelan<br />
Maria Mendona<br />
games<br />
Claire H<strong>in</strong>d<br />
gastronomy<br />
Veronique Chossat<br />
gaze<br />
Kathy Mackey<br />
gender<br />
Carol<strong>in</strong>a Marielli Barreto<br />
Teena Clerke<br />
Rejane Galvão Cout<strong>in</strong>ho<br />
Colette Henry<br />
Angélica Lima Cruz<br />
Maarit Mäkelä<br />
Chris Mathieu<br />
Nana Afia Opoku–Asare<br />
Hod Orkibi<br />
Mofizur Rhaman<br />
gender and design<br />
M<strong>in</strong>g-Y<strong>in</strong>g Yang<br />
gender and higher education<br />
Kathar<strong>in</strong>e Sarikakis<br />
gender equity<br />
María Del Río Diéguez<br />
Marián López Fernández-Cao<br />
Matilde Mollá G<strong>in</strong>er<br />
Miguel Domínguez Rigo<br />
Julio Romero Rodríguez<br />
Ana Eva Iribas Rudín<br />
Rosaura Navajas Seco<br />
Catal<strong>in</strong>a Rigo Vanrell<br />
generative<br />
Max Moswitzer<br />
generative text<br />
Bill Seaman<br />
generator<br />
Gonçalo Furtado<br />
genetic algorithms<br />
Ingrid Böck<br />
genetic <strong>in</strong>formation<br />
Jane Coad<br />
genetics<br />
Catal<strong>in</strong>a Cepeda<br />
genomics<br />
Zachary Jones<br />
genre analysis<br />
Darryl Hock<strong>in</strong>g<br />
Joan Turner<br />
genre theory<br />
Darryl Hock<strong>in</strong>g<br />
gentrification<br />
Kather<strong>in</strong>e Champion<br />
geographic and cultural<br />
transitions<br />
Ruth Beer<br />
geography<br />
Lei-Lei Li<br />
Andrea Polli<br />
geology<br />
David Walker Barker<br />
gesture prediction<br />
Max B. Kazemzadeh<br />
Ghana<br />
Joe Adu- Agyem<br />
Mavis Enti<br />
Y.S. Peligah<br />
Gilles Deleuze<br />
Bridget Crone<br />
glass<br />
Keith Cumm<strong>in</strong>gs<br />
Riikka Latva-Somppi<br />
Dr Graham McLaren<br />
glass-mak<strong>in</strong>g<br />
Karen Yair<br />
global<br />
Frans Vogelaar<br />
global space<br />
Malcolm Miles<br />
Global Studio<br />
Erik Bohemia<br />
Liz McDowell<br />
global warm<strong>in</strong>g social<br />
application<br />
Christoph Bartneck<br />
Matthias Rauterberg<br />
global Xenakis<br />
Elizabeth Sikiaridi<br />
globalization<br />
Sheila Cliffe<br />
Sean Cubitt<br />
Rosie Meade<br />
Mart<strong>in</strong> Mulligan<br />
Hala F. Nassar<br />
Simona Segre Re<strong>in</strong>ach
John Steers<br />
glossary<br />
Mark Leahy<br />
gnostic<br />
Joel Cahen<br />
Gnostic<br />
Francesco Monico<br />
Goat Island<br />
Robert Wilsmore<br />
Gothic<br />
Christian W. Schneider<br />
governance<br />
Bastian Lange<br />
Montserrat Pareja-Eastaway<br />
governance-specific factors<br />
Tommaso C<strong>in</strong>ti<br />
governmentality<br />
Amanda Bill<br />
governor<br />
Stephen A. Gage<br />
gradual<br />
Nicholas Tresilian<br />
grapheme-colour<br />
Sandra E. Hoffmann Robbiani<br />
graphic components<br />
Solange Cout<strong>in</strong>ho<br />
Bernard Darras<br />
Eva Miranda<br />
graphic design<br />
Ken Garland<br />
Cal Swann<br />
graphic design practice<br />
Nicolette Lee<br />
Stella Tan<br />
graphic medic<strong>in</strong>e<br />
Ian Williams<br />
graphic memoir<br />
Miriam Brown Spiers<br />
Øyv<strong>in</strong>d Vågnes<br />
graphic memoirs<br />
Adrielle Mitchell<br />
graphic novel<br />
Andrés Romero-Jódar<br />
graphic novels<br />
Paul Atk<strong>in</strong>son<br />
Charlie Blake<br />
Cyril Camus<br />
Michel De Dobbeleer<br />
Jochen Ecke<br />
Adrielle Mitchell<br />
Chris Murray<br />
Ian Williams<br />
graphics<br />
Simon Downs<br />
Mehrdad Garousi<br />
Greater Manchester<br />
Kather<strong>in</strong>e Champion<br />
Greece<br />
Magouliotis Apostolos<br />
Martha Christopoulou<br />
Georgia Kakourou Chroni<br />
Vasiliki Labitsi<br />
Moraiti Tzeni<br />
green architecture<br />
Michael Evan Goodsite<br />
Ole John Nielsen<br />
grief<br />
Karen Wilson Baptist<br />
grotesque<br />
Ian Dawe<br />
groundcourse<br />
Elif Ayiter<br />
group<br />
Dita Judith Federman<br />
group psychotherapy<br />
Keren Barzilay-Shechter<br />
group s<strong>in</strong>g<strong>in</strong>g<br />
Hilary Bungay<br />
Stephen Clift<br />
groups<br />
Angus Phillips<br />
Guyana<br />
Paul Buhle<br />
gynaecology<br />
Anne Lanceley<br />
Usha Menon<br />
H.G. Wells<br />
Mike Starr<br />
habitus<br />
Sophia Krzys Acord<br />
Ian Sutherland<br />
halluc<strong>in</strong>ation<br />
Ted Hiebert<br />
Diana Reed Slattery<br />
handicraft skills<br />
Mette Gårdvik<br />
haptic<br />
Dr. Beth Harland<br />
hard and soft location factors<br />
Hélène Mart<strong>in</strong>-Brelot<br />
HCI<br />
Zachary Jones<br />
health<br />
Erica E. Ander
Hilary Bungay<br />
Stephen Clift<br />
Jane Coad<br />
Col<strong>in</strong> Murrell<br />
L<strong>in</strong>da J. Thomson<br />
Mike White<br />
Roger Wooster<br />
Helen Zigmond<br />
health sciences<br />
Theodore Stickley<br />
hegemony<br />
Paul Clements<br />
Heidegger<br />
Andrea Thoma<br />
Shilpa Venkatachalam<br />
Helen Chadwick<br />
Victoria Worsley<br />
helmsman<br />
Stephen A. Gage<br />
heritage<br />
Erica E. Ander<br />
Christ<strong>in</strong>e Ballengee Morris<br />
James H. Sanders III<br />
heritage education<br />
Alfredo Palacios Garrido<br />
heritage market<strong>in</strong>g<br />
David Leaver<br />
HermAfrEros<br />
Giorgio Alberti<br />
hermeneutic method<br />
Jhong Sook Oh<br />
hermeneutics<br />
Nicholas Davey<br />
heterogeneity<br />
Guillaume Paris<br />
hidden fragments<br />
Jane Graves<br />
higher education<br />
Amanda Bill<br />
Ann-Mari Edström<br />
Bess Frimodig<br />
Sophie Harbour<br />
Sherry Mayo<br />
Christ<strong>in</strong>a Read<strong>in</strong>g<br />
Simon Roodhouse<br />
Brynjulf Tellefsen<br />
Tim Vorley<br />
Nick Wilson<br />
Manlai You<br />
'higher' order<br />
Peter Stott<br />
Hirst<br />
Giovanni Aloi<br />
historiography<br />
D. J. Huppatz<br />
history<br />
Carol<strong>in</strong>a Marielli Barreto<br />
Roger M. Buergel<br />
Rejane Galvão Cout<strong>in</strong>ho<br />
Riikka Latva-Somppi<br />
Bex Lewis<br />
Maarit Mäkelä<br />
Laura Malosetti Costa<br />
Dr Graham McLaren<br />
Mart<strong>in</strong> Patrick<br />
history of science<br />
Lucía Ayala<br />
historygraphic design<br />
Samantha Lawrie<br />
HIV/AIDS<br />
Kathar<strong>in</strong>e Low<br />
holism<br />
Col<strong>in</strong> Murrell<br />
Stephen Thompson<br />
hope<br />
Helen Zigmond<br />
hospital<br />
Erica E. Ander<br />
hous<strong>in</strong>g oneself<br />
Lily Markiewicz<br />
human histories<br />
David Walker Barker<br />
human perception<br />
Brigitta Zics<br />
human realnessaction<br />
Kjell Yngve Petersen<br />
human rights<br />
Rosemary Burnett<br />
Raja Shehadeh<br />
human-computer <strong>in</strong>teraction<br />
Brigitta Zics<br />
humanitarian<br />
Col<strong>in</strong> Murrell<br />
humanities<br />
Sophia Krzys Acord<br />
Charlie Blake<br />
humanity<br />
H. L. Hix<br />
hybrid identity<br />
Rayna Denison<br />
hybrid <strong>in</strong>vention<br />
Bill Seaman<br />
hybrid spaces<br />
Adriana de Souza e Silva<br />
hybrid terra<strong>in</strong><br />
Stephen A. Gage<br />
HyperFun<br />
Alexander Pasko<br />
Turlif Vilbrandt
Carl Vilbrandt<br />
hypermedia<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
hypermorphism<br />
Paul Woodrow<br />
hypertext<br />
Chris Byrne<br />
Gordon Calleja<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
Christian Schwager<br />
Robert W. Sweeny<br />
iconic solidarity<br />
Adrielle Mitchell<br />
iconoclasm<br />
Simon Morley<br />
iconography<br />
Francis Halsall<br />
ICRL<br />
Zachary Jones<br />
ICT<br />
Abhigyan S<strong>in</strong>gh<br />
identity<br />
Joanne F<strong>in</strong>kelste<strong>in</strong><br />
Kit Grauer<br />
Kathryn Grushka<br />
Rita L. Irw<strong>in</strong><br />
Joachim Kettel<br />
Christ<strong>in</strong>e Ballengee Morris<br />
Anna Reid<br />
Kathryn Ricketts<br />
Olivia Sagan<br />
Paul<strong>in</strong>e Sameshima<br />
James H. Sanders III<br />
L<strong>in</strong>da Sand<strong>in</strong>o<br />
Ian Solomonides<br />
Mary Stokrocki<br />
Anni<strong>in</strong>a Suom<strong>in</strong>en<br />
Nathan Wiseman-Trowse<br />
Gu Xiong<br />
ideologem<br />
James Reynolds<br />
illustration<br />
Suzanne Barnes<br />
Simon Downs<br />
Vasiliki Labitsi<br />
Virg<strong>in</strong>ia Lowe<br />
Mike McAuley<br />
image<br />
Amos Bianchi<br />
Bridget Crone<br />
Joanne F<strong>in</strong>kelste<strong>in</strong><br />
Jane Graves<br />
image and text<br />
Adrielle Mitchell<br />
image media neutral<br />
Sunil Manghani<br />
image theory<br />
Peeter L<strong>in</strong>nap<br />
images<br />
Zhifan Hu<br />
images and identity<br />
Carl-Peter Buschkühle<br />
imag<strong>in</strong>ation<br />
Margaret Dol<strong>in</strong>sky<br />
Mark Johnson<br />
Mal<strong>in</strong> Zimm<br />
immanence<br />
Guillaume Paris<br />
immateriality<br />
Martha Patricia Niño Mojica<br />
immersion<br />
David McConville<br />
Joseph Nechvatal<br />
Diana Reed Slattery<br />
Mal<strong>in</strong> Zimm<br />
immersive<br />
Joseph Nechvatal<br />
immigration<br />
Kit Grauer<br />
Laura Hurd Clarke<br />
Kathryn Ricketts<br />
Paul<strong>in</strong>e Sameshima<br />
Gu Xiong<br />
implicit<br />
Michael Jarvis<br />
implicit assumptions<br />
René Stettler<br />
impossibility<br />
Ted Hiebert<br />
impression management<br />
Michael R. Solomon<br />
improvisation<br />
Rea Dennis<br />
Malaika Sarco- Thomas<br />
improvisation cybernetics<br />
Stanley Mathews<br />
<strong>in</strong>attention bl<strong>in</strong>dness<br />
Ellen K. Levy<br />
<strong>in</strong>clusion<br />
Antti Raike<br />
<strong>in</strong>clusive pedagogic practices<br />
Terry F<strong>in</strong>nigan<br />
<strong>in</strong>dependant <strong>research</strong>er<br />
Andrew Gryf Paterson<br />
<strong>in</strong>dependent artist<br />
Jennifer Kanary Nikolov(a)<br />
<strong>in</strong>digenous modernity<br />
Ian Henderson<br />
<strong>in</strong>dividualization<br />
Ana Marta González<br />
<strong>in</strong>dustrial design<br />
Karen Bull<br />
Jane Osmond<br />
Mike Tovey
M<strong>in</strong>g-Y<strong>in</strong>g Yang<br />
Manlai You<br />
<strong>in</strong>dustrial heritage<br />
Chen Xu<br />
Liu Yan<br />
<strong>in</strong>dustrial <strong>in</strong>novation<br />
Jean-Paul Fourmentraux<br />
<strong>in</strong>dustrial location<br />
Kather<strong>in</strong>e Champion<br />
<strong>in</strong>dustrialization<br />
Rebecca Reubens<br />
<strong>in</strong>dustry<br />
Trish Woods<br />
<strong>in</strong>f<strong>in</strong>ite regression<br />
Robert Pepperell<br />
<strong>in</strong>formal curriculum<br />
Brent Wilson<br />
<strong>in</strong>formatics<br />
Lily Díaz<br />
<strong>in</strong>formation<br />
Ray Gallon<br />
<strong>in</strong>formation and<br />
communication<br />
Pete Worrall<br />
<strong>in</strong>formation process<strong>in</strong>g<br />
Soichiro Tsuda<br />
<strong>in</strong>formed consent<br />
Teresa A Fisher<br />
<strong>in</strong>habitants<br />
Mike Phillips<br />
<strong>in</strong>juries<br />
Bill Ribbans<br />
<strong>in</strong>novation<br />
Amanda M. C Brandellero<br />
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
Anna M Dempster<br />
Andrea Holland<br />
Rob Huddleston<br />
Robert C. Kloosterman<br />
Jessica Turrell<br />
Paul Whittaker<br />
<strong>in</strong>novation management<br />
Paul Trott<br />
<strong>in</strong>novation projects<br />
Willy Oud<br />
<strong>in</strong>novator companies<br />
Tim Vorley<br />
<strong>in</strong>quiry oriented learn<strong>in</strong>g<br />
Kyong-Mi Paek<br />
<strong>in</strong>scription<br />
Charlie Blake<br />
<strong>in</strong>spiration<br />
Christ<strong>in</strong>a Read<strong>in</strong>g<br />
<strong>in</strong>stallation<br />
Rose Bond<br />
Mark Leckey<br />
<strong>in</strong>stallation art<br />
Graham Coulter-Smith<br />
Adam Kossoff<br />
Ruth Pelzer-Montada<br />
Michael Schwab<br />
<strong>in</strong>stallation design<br />
Kjell Yngve Petersen<br />
<strong>in</strong>stallation/performance<br />
Steve Dutton<br />
<strong>in</strong>stitute<br />
Steve Sw<strong>in</strong>dells<br />
Institute for the Advancement<br />
of University Learn<strong>in</strong>g at the<br />
University of Oxford<br />
Keith Trigwell<br />
<strong>in</strong>stitutional thickness<br />
Montserrat Pareja-Eastaway<br />
<strong>in</strong>stitutions<br />
Silke Dettmers<br />
<strong>in</strong>strumentalism<br />
Paul Clements<br />
<strong>in</strong>tangible value<br />
Michele Trimarchi<br />
<strong>in</strong>tegrated curricula<br />
ShiPu Wang<br />
<strong>in</strong>tegration<br />
Chris Mathieu<br />
Kathy Miraglia<br />
Cathy Smilan<br />
<strong>in</strong>tellectual history<br />
Malcolm Qu<strong>in</strong>n<br />
<strong>in</strong>tellectual property<br />
Lucy Montgomery<br />
Jason Potts<br />
<strong>in</strong>telligence<br />
Kathryn Moore<br />
<strong>in</strong>telligent<br />
Mike Phillips<br />
<strong>in</strong>telligent architecture<br />
Gonçalo Furtado<br />
<strong>in</strong>tent<br />
Max B. Kazemzadeh<br />
<strong>in</strong>tentionalism<br />
Hans Maes<br />
<strong>in</strong>teraction<br />
Stephen Jones<br />
Giovanni Piazza
Victor I. Ukaegbu<br />
<strong>in</strong>teractions<br />
Julia Gaimster<br />
<strong>in</strong>teractive art<br />
Graham Coulter-Smith<br />
Carlos Augusto Moreira da<br />
Nóbrega<br />
Brigitta Zics<br />
<strong>in</strong>teractive art education<br />
Suzan Duygu Eristi<br />
<strong>in</strong>teractive arts<br />
Tania Fraga<br />
<strong>in</strong>teractive environment<br />
Mal<strong>in</strong> Zimm<br />
<strong>in</strong>teractive fiction<br />
James Pope<br />
<strong>in</strong>teractive immersive<br />
environment<br />
J<strong>in</strong>sil Seo<br />
<strong>in</strong>teractive <strong>in</strong>stallation<br />
Gilbertto Prado<br />
<strong>in</strong>teractive media<br />
Chris Rust<br />
Semi Ryu<br />
<strong>in</strong>teractivity<br />
Serge Bouchardon<br />
Lily Díaz<br />
Norbert Herber<br />
Ajay Kumar<br />
Yorgos Loizos<br />
<strong>in</strong>terconnectivity<br />
Isabelle Cho<strong>in</strong>ière<br />
<strong>in</strong>tercultural communication<br />
Yasm<strong>in</strong> Ibrahim<br />
Natascha Radclyffe-Thomas<br />
<strong>in</strong>tercultural dialogue<br />
Pete Worrall<br />
<strong>in</strong>tercultural learn<strong>in</strong>g<br />
Ryan Sh<strong>in</strong><br />
Steve Willis<br />
<strong>in</strong>terculturalism<br />
Tomaz Zupancic<br />
<strong>in</strong>terdiscipl<strong>in</strong>arity<br />
Sophia Krzys Acord<br />
Jacquel<strong>in</strong>e Chanda<br />
M. James C. Crabbe<br />
Jean-Paul Fourmentraux<br />
Ajay Kumar<br />
Yang Liu<br />
Andrew Picker<strong>in</strong>g<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary<br />
Gerald<strong>in</strong>e Biddle-Perry<br />
Laura Chess<strong>in</strong><br />
Maria Flôr Dias<br />
Gregg Garf<strong>in</strong><br />
Fernando Hernandez<br />
Elisa Lessa<br />
Judit Vidiella<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary approaches<br />
Kyong-Mi Paek<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary art<br />
Ruth Beer<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary learn<strong>in</strong>g<br />
Christ<strong>in</strong>e Woywod<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary <strong>research</strong><br />
Santiago Navarro<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary work<br />
Leslie Cunliffe<br />
<strong>in</strong>terface<br />
Laura Beloff<br />
Gonçalo Furtado<br />
<strong>in</strong>terface <strong>research</strong><br />
Bill Seaman<br />
<strong>in</strong>tergenerational difference<br />
Mary Stokrocki<br />
<strong>in</strong>terior architecture<br />
Cordelia Hanel<br />
<strong>in</strong>terior design<br />
Jill Franz<br />
Cordelia Hanel<br />
D. J. Huppatz<br />
<strong>in</strong>termedia<br />
Marian Mazzone<br />
<strong>in</strong>ternally persuasive writ<strong>in</strong>g<br />
Erik Borg<br />
<strong>in</strong>ternational comparative<br />
mapp<strong>in</strong>g<br />
Stuart Cunn<strong>in</strong>gham<br />
Peter Higgs<br />
International Creative<br />
Industries Alliance Beij<strong>in</strong>g<br />
(ICIA)<br />
Shaun Chang<br />
<strong>in</strong>ternational law<br />
Raja Shehadeh<br />
<strong>in</strong>ternational students<br />
Harriet Edwards<br />
Julia Lockheart<br />
Angus Phillips<br />
Christoph Raatz<br />
Maziar Rae<strong>in</strong><br />
Silvia Sovic<br />
Internet<br />
Sheila Cliffe<br />
Andrew Dubber<br />
Internet of th<strong>in</strong>gs<br />
Margarete Jahrmann<br />
<strong>in</strong>ter-organizational relations<br />
Tommaso C<strong>in</strong>ti<br />
Interplay<br />
A.B.D Nadja Masura
<strong>in</strong>terpretation<br />
Hans Maes<br />
<strong>in</strong>tertextuality<br />
Mart<strong>in</strong>a Paatela-Niem<strong>in</strong>en<br />
<strong>in</strong>tuition<br />
David Gall<br />
Michael Jarvis<br />
Deborah Rob<strong>in</strong>son<br />
Natalie Woolf<br />
<strong>in</strong>ventions<br />
Christoph Bartneck<br />
Matthias Rauterberg<br />
Irish social movements<br />
Rosie Meade<br />
Irma Stern<br />
Griselda Pollock<br />
irony<br />
Clovis Blackwell<br />
Islam<br />
Hala F. Nassar<br />
isonomy<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
Israel<br />
Georgia Kakourou Chroni<br />
Israeli – Palest<strong>in</strong>ian youth<br />
Keren Barzilay-Shechter<br />
J. Espen Aarseth<br />
A. David Lewis<br />
Janet Rosenberg Jagan<br />
Paul Buhle<br />
Japan<br />
David Bell<br />
Aki Koike<br />
Toshio Naoe<br />
Hideshi Uda<br />
Japanese art<br />
Daisuke Okeda<br />
Japanese art history<br />
Kazuji Mogi<br />
Miho Shimohara<br />
Japanese collection<br />
Jungwon Lee<br />
Jeff Koons<br />
Clovis Blackwell<br />
Jeremijenko<br />
Matthew Fuller<br />
jewellery<br />
Jo Pond<br />
Heidi Yeo<br />
Christoph Zellweger<br />
jewellery <strong>in</strong>dustry<br />
Lisa De Propris<br />
Jewish identity<br />
Tahneer Oksman<br />
Joan Littlewood<br />
Stanley Mathews<br />
John and Julia Frazer<br />
Gonçalo Furtado<br />
John Dewey<br />
Derek Whitehead<br />
jokes<br />
Hans Maes<br />
journal<br />
Christ<strong>in</strong>e Hardy<br />
journal<strong>in</strong>g<br />
Val Diggle<br />
journalism<br />
Lynette Sheridan Burns<br />
journals<br />
Them<strong>in</strong>a Kader<br />
Juárez murders<br />
Adetty Pérez Miles<br />
Judaism<br />
Robert A. Erlew<strong>in</strong>e<br />
Jura-Paris road<br />
Kieran Lyons<br />
Kabbalah<br />
Mel Alexenberg<br />
Kafka<br />
Adrian Page<br />
Kant<br />
Andy Hamilton<br />
Ken Friedman<br />
Marian Mazzone<br />
key skills<br />
Alison James<br />
kimono<br />
Sheila Cliffe<br />
k<strong>in</strong>dergarten<br />
Shu-Y<strong>in</strong>g Liu<br />
k<strong>in</strong>esthetic ability<br />
Dita Judith Federman<br />
k<strong>in</strong>etoscope<br />
Mal<strong>in</strong> Zimm<br />
know<strong>in</strong>g<br />
Krist<strong>in</strong>a Niedderer<br />
L<strong>in</strong>den Reilly
knowledge<br />
Amanda Beech<br />
Carl-Peter Buschkühle<br />
knowledge and understand<strong>in</strong>g<br />
L<strong>in</strong>den Reilly<br />
knowledge communication<br />
Krist<strong>in</strong>a Niedderer<br />
L<strong>in</strong>den Reilly<br />
knowledge creation<br />
Yassaman Imani<br />
knowledge economy<br />
Nick Clifton<br />
Phil Cooke<br />
knowledge <strong>in</strong>dustries<br />
Bastian Lange<br />
knowledge management<br />
Yassaman Imani<br />
knowledge production<br />
Sophia Krzys Acord<br />
knowledge transfer<br />
Tim Vorley<br />
knowledge-<strong>in</strong>-action<br />
Kerrie Corcoran<br />
Cheryl Sim<br />
knowledges<br />
Jane Graves<br />
Korean Ancestor Worship<br />
service<br />
Ryan Sh<strong>in</strong><br />
Steve Willis<br />
Kristeva<br />
Sheila de Rosa<br />
Kyoto School<br />
Gerald Cipriani<br />
labour<br />
Danielle Child<br />
Mar<strong>in</strong>a Vishmidt<br />
Laibe<br />
Imogen Racz<br />
landscape<br />
Ia<strong>in</strong> Biggs<br />
Nicole Porter<br />
Judith Tucker<br />
David Walker Barker<br />
landscape architecture<br />
Hala F. Nassar<br />
Karen Wilson Baptist<br />
landscapes<br />
Richard Forster<br />
language<br />
Sheena Calvert<br />
Nicholas Davey<br />
Andrea Holland<br />
Samantha Lawrie<br />
Cal Swann<br />
language development<br />
Ruslan Slutsky<br />
Lascaux<br />
D. J. Huppatz<br />
lasers<br />
Rob Huddleston<br />
Paul Whittaker<br />
Lat<strong>in</strong> American art<br />
Laura Malosetti Costa<br />
law<br />
Amanda Beech<br />
layered identity<br />
Peter Hatton<br />
Le Corbusier<br />
Ingrid Böck<br />
leadership<br />
Montserrat Pareja-Eastaway<br />
Brynjulf Tellefsen<br />
lead<strong>in</strong>g scholars<br />
Joanna Rees<br />
learner<br />
Ruth D<strong>in</strong>een<br />
learn<strong>in</strong>g<br />
Brian Chalkley<br />
Jacquel<strong>in</strong>e Chanda<br />
Julia Gaimster<br />
Richard Heatly<br />
Jenny Moon<br />
Anna Reid<br />
Ian Solomonides<br />
Keith Trigwell<br />
Marcus Verhagen<br />
Hannele Weir<br />
learn<strong>in</strong>g and teach<strong>in</strong>g<br />
Christ<strong>in</strong>a Read<strong>in</strong>g<br />
learn<strong>in</strong>g and teach<strong>in</strong>g pool<br />
Katja Fleischmann<br />
learn<strong>in</strong>g contracts<br />
Marie Jefsiout<strong>in</strong>e<br />
Bob Jerrard<br />
learn<strong>in</strong>g culture<br />
Natascha Radclyffe-Thomas<br />
learn<strong>in</strong>g environments<br />
Anja Kraus<br />
learn<strong>in</strong>g styles<br />
Harriet Edwards<br />
Julia Lockheart<br />
Christoph Raatz<br />
Maziar Rae<strong>in</strong><br />
lecturer<br />
Rebecca Coates<br />
Lee Smith<br />
Daniel T. Ste<strong>in</strong>
legibility<br />
Robert Hillier<br />
legitimacy<br />
Paul Clements<br />
leisure<br />
Anne Fenech<br />
Len<strong>in</strong>grad<br />
James Elk<strong>in</strong>s<br />
Lev Vygotsky<br />
Derek Whitehead<br />
liberal arts<br />
James Edward Clayson<br />
life stories<br />
L<strong>in</strong>da Sand<strong>in</strong>o<br />
life story<br />
Angélica Lima Cruz<br />
light<br />
Margaret Dol<strong>in</strong>sky<br />
Zachary Jones<br />
J<strong>in</strong>sil Seo<br />
lim<strong>in</strong>al state<br />
Dew Harrison<br />
Barbara Rauch<br />
literary hypermedia<br />
Talan Memmott<br />
literary science<br />
Zuzana Husárová<br />
literary studies<br />
Scott Rettberg<br />
literary theory<br />
Laura Borràs Castanyer<br />
literature<br />
Cyril Camus<br />
Jochen Ecke<br />
María Mencía<br />
Adrian Page<br />
Deneb Kozikoski Valereto<br />
liv<strong>in</strong>g architecture<br />
Michael Evan Goodsite<br />
Zachary Jones<br />
Ole John Nielsen<br />
liv<strong>in</strong>g technologies<br />
Sylvia Nagl<br />
liv<strong>in</strong>g technology<br />
Mart<strong>in</strong> M. Hanczyc<br />
Takashi Ikegami<br />
Liv<strong>in</strong>gston<br />
Hans Maes<br />
local and regional development<br />
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
Lisa De Propris<br />
local art<br />
Folkert Haanstra<br />
local communities<br />
Mart<strong>in</strong> Mulligan<br />
local economic development<br />
Roberta Comunian<br />
local system governance<br />
Tommaso C<strong>in</strong>ti<br />
location<br />
Nick Clifton<br />
Phil Cooke<br />
location-aware technologies<br />
Adriana de Souza e Silva<br />
locative media<br />
Andrea Polli<br />
logic<br />
Sheena Calvert<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
logo<br />
James Edward Clayson<br />
London<br />
Gal<strong>in</strong>a Gornostaeva<br />
Louise Bourgeois<br />
Sheila de Rosa<br />
Lourdes Portillo<br />
Adetty Pérez Miles<br />
Luce Irigaray<br />
Ruth Jones<br />
Lucy Gunn<strong>in</strong>g<br />
Ruth Jones<br />
ludic <strong>in</strong>terfaces<br />
Margarete Jahrmann<br />
mach<strong>in</strong>e learn<strong>in</strong>g<br />
Max B. Kazemzadeh<br />
mach<strong>in</strong>ic genetics<br />
Bill Seaman<br />
made <strong>in</strong> Italy<br />
Simona Segre Re<strong>in</strong>ach<br />
Maffesoli<br />
Riikka Haapala<strong>in</strong>en<br />
mak<strong>in</strong>g<br />
Ian Heywood<br />
managed learn<strong>in</strong>g environment<br />
Julian Mal<strong>in</strong>s<br />
Chris McKillop<br />
management<br />
Anne Massey<br />
Nick Wilson
managers<br />
Hélène Mart<strong>in</strong>-Brelot<br />
mangle<br />
Andrew Picker<strong>in</strong>g<br />
mapp<strong>in</strong>g<br />
Donna J. Cox<br />
Stuart Cunn<strong>in</strong>gham<br />
Val Diggle<br />
Peter Higgs<br />
Jung A. Huh<br />
Mogens Jacobsen<br />
Morten Søndergaard<br />
Marcel Duchamp<br />
L<strong>in</strong> Holdridge<br />
Katy Macleod<br />
Marcel Proust<br />
Nicholas Theisen<br />
Marianne Hirsch<br />
Judith Tucker<br />
mar<strong>in</strong>e<br />
James Elk<strong>in</strong>s<br />
Mark Walport<br />
Richard Woodfield<br />
marked typography<br />
Pascal Lefevre<br />
market forces<br />
Clive Dilnot<br />
market<strong>in</strong>g<br />
Veena Chattaraman<br />
Lloyd Chilvers<br />
markets<br />
Amanda M. C Brandellero<br />
Robert C. Kloosterman<br />
Marx<br />
Mar<strong>in</strong>a Vishmidt<br />
Marxist theories<br />
Jeremy Spencer<br />
mash-up<br />
Robert W. Sweeny<br />
mass communication<br />
Kathar<strong>in</strong>e Sarikakis<br />
mass media<br />
Marco Pellitteri<br />
Massively Multiplayer Onl<strong>in</strong>e<br />
Games<br />
Gordon Calleja<br />
materia poetica<br />
Milan Jaros<br />
material artefacts<br />
Efrat Tseëlon<br />
material comput<strong>in</strong>g<br />
Rachel Armstrong<br />
material culture<br />
Clayton Funk<br />
Deborah L Smith-Shank<br />
material-based art<br />
Maarit Mäkelä<br />
materialism<br />
Jeremy Spencer<br />
Mar<strong>in</strong>a Vishmidt<br />
materiality<br />
Laura Beloff<br />
Alice Fox<br />
Phil Legard<br />
Nigel Morgan<br />
Nithikul Nimkulrat<br />
Matthew Rob<strong>in</strong>son<br />
materiality of art<br />
Ruth Pelzer-Montada<br />
materials and processes<br />
Ian Heywood<br />
mathematics<br />
Zachary Jones<br />
Matrix<br />
Francesco Monico<br />
matternal narrative<br />
Sarah Tremlett<br />
mature students<br />
Harriet Edwards<br />
Julia Lockheart<br />
Christoph Raatz<br />
Maziar Rae<strong>in</strong><br />
meander art<br />
Yang Liu<br />
mean<strong>in</strong>g<br />
Samantha Lawrie<br />
Ti<strong>in</strong>a Rautkorpi<br />
mean<strong>in</strong>g mak<strong>in</strong>g<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Biljana C Fredriksen<br />
Jhong Sook Oh<br />
mean<strong>in</strong>g-mak<strong>in</strong>g<br />
Paul Mart<strong>in</strong><br />
Kathy R<strong>in</strong>g<br />
media<br />
Amos Bianchi<br />
M. James C. Crabbe<br />
Hillary Cunliffe-Charlesworth<br />
Ray Gallon<br />
Janey Gordon<br />
Jillian Hamilton<br />
Luke Jaaniste<br />
Marius Kw<strong>in</strong>t<br />
Kazuji Mogi<br />
Angus Phillips<br />
Nicole Porter<br />
Toni Ryynänen<br />
Miho Shimohara<br />
Kaye Shumack<br />
media art<br />
Sophie Jung<br />
Andrew Gryf Paterson<br />
Greg Shapley
Elizabeth Sikiaridi<br />
media culture<br />
Marjorie Cohee Manifold<br />
media designer<br />
Jurgen Faust<br />
media <strong>in</strong>dustries<br />
Daniel Ashton<br />
media literacy<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs<br />
media philosophy<br />
Martha Blassnigg<br />
media studies<br />
Ben Calvert<br />
Bernadette Casey<br />
Bex Lewis<br />
media violence<br />
Sheng Kuan Chung<br />
mediated ritual<br />
Luisa Paraguai<br />
mediation<br />
Sara Malou Strandvad<br />
medic<strong>in</strong>e<br />
Theodore Stickley<br />
Ian Williams<br />
medic<strong>in</strong>e sales<br />
Victor I. Ukaegbu<br />
medium<br />
Mick F<strong>in</strong>ch<br />
medium specificty<br />
Mick F<strong>in</strong>ch<br />
memoir<br />
Nicole McDaniel<br />
memorials<br />
Paul Gough<br />
memory<br />
Ia<strong>in</strong> Biggs<br />
Sue Breakell<br />
Rea Dennis<br />
Elisabeth El Refaie<br />
Laura Malosetti Costa<br />
Rita Marcalo<br />
Nicole McDaniel<br />
L<strong>in</strong>da J. Thomson<br />
Victoria Worsley<br />
memory prosthetic<br />
Alexander Sekatskiy<br />
memory-mapp<strong>in</strong>g<br />
Griselda Pollock<br />
mental health<br />
Sue Hack<strong>in</strong>g<br />
Hilda Ho<br />
Mitchell Kossak<br />
Jo Pond<br />
Karen Richard<br />
Nick Rowe<br />
Helen Turner<br />
mental illness<br />
Peter Amsel<br />
mental image<br />
Alexander Sekatskiy<br />
mental imagery<br />
Bjarne Sode Funch<br />
William P. Seeley<br />
mental well-be<strong>in</strong>g<br />
Kate Evans<br />
mentally disordered offenders<br />
Hilda Ho<br />
Karen Richard<br />
mentor<strong>in</strong>g<br />
Ti<strong>in</strong>a Rautkorpi<br />
mereotopology<br />
Arnold Cusmariu<br />
Merleau-Ponty<br />
Clive Cazeaux<br />
metadesign<br />
Hannah Jones<br />
meta-discipl<strong>in</strong>e<br />
Tilmann L<strong>in</strong>dberg<br />
Christoph Me<strong>in</strong>el<br />
Christ<strong>in</strong>e Noweski<br />
metafiction<br />
Paul Atk<strong>in</strong>son<br />
metalwork<br />
Christoph Zellweger<br />
metaphor<br />
Donna J. Cox<br />
Elisabeth El Refaie<br />
Mark Johnson<br />
Fred McVittie<br />
Gillian Robertson<br />
metaphor and empowerment<br />
Fiona Graham<br />
metaphysics<br />
Joel Cahen<br />
meta-space and sciences of<br />
complexity<br />
Gonçalo Furtado<br />
metaverse<br />
Maurizio Forte<br />
Murat Germen<br />
Gregorij Kurillo<br />
Max Moswitzer<br />
Selavy Oh<br />
meteorology<br />
Andrea Polli<br />
method<br />
Daniela Büchler<br />
Methodism<br />
Albert Jewell
methodology<br />
Keren Barzilay-Shechter<br />
methods for support<strong>in</strong>g<br />
learn<strong>in</strong>g<br />
Jenny Moon<br />
Michael Foucault<br />
Helena Webster<br />
Michael W<strong>in</strong>terbottom<br />
Nick Haeffner<br />
Middle East<br />
Raja Shehadeh<br />
milieu- and scene <strong>research</strong><br />
Bastian Lange<br />
military failure<br />
Kieran Lyons<br />
m<strong>in</strong>dfulness<br />
Marlene Ivey<br />
Louise Valent<strong>in</strong>e<br />
m<strong>in</strong>dset<br />
Barbara Rauch<br />
m<strong>in</strong>eralization<br />
David Walker Barker<br />
m<strong>in</strong>istry<br />
Michael I. Jackson<br />
mirror<br />
David Wood<br />
mirror neuron<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
mise-en-scène<br />
Neil Mulholland<br />
mistakes/failure<br />
Alissa Clarke<br />
mitogenetic radiation<br />
Carlos Augusto Moreira da<br />
Nóbrega<br />
mixed media<br />
Jiří Barta<br />
Barbara Howey<br />
mixed reality<br />
Peter Anders<br />
mixed-methodology<br />
Darryl Hock<strong>in</strong>g<br />
MMORPG simulation<br />
Robert W. Sweeny<br />
mobile art<br />
Laura Beloff<br />
mobile devices<br />
Luisa Paraguai<br />
mobile <strong>in</strong>terfaces<br />
Adriana de Souza e Silva<br />
mobile media<br />
Norbert Herber<br />
mobile phones<br />
Adriana de Souza e Silva<br />
mobile technology<br />
Rita Marcalo<br />
model<br />
Mike Phillips<br />
modell<strong>in</strong>g<br />
Zachary Jones<br />
modern art<br />
Susan Best<br />
Sue Breakell<br />
Joachim Kettel<br />
George Kyeyune<br />
Adam Lauder<br />
modern languages<br />
Dunja Dogo<br />
modern pa<strong>in</strong>t<strong>in</strong>g<br />
James Elk<strong>in</strong>s<br />
modernism<br />
Paul Duncum<br />
James Elk<strong>in</strong>s<br />
Patricia Macdonald<br />
modernity<br />
John Elsom<br />
modes of address<br />
Dr. Beth Harland<br />
moistmedia<br />
Roy Ascott<br />
montage<br />
Guillaume Paris<br />
moral argumentation<br />
Chris Mathieu<br />
moral controversies<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs<br />
morality<br />
Suhail Malik<br />
motherhood<br />
Sheila de Rosa<br />
motion graphics<br />
Michael Betancourt<br />
motivation<br />
Robyn Gibson<br />
movement<br />
Clare Park<br />
movement therapist<br />
Nancy Beardall
mov<strong>in</strong>g image<br />
Bridget Crone<br />
Adam Kossoff<br />
mov<strong>in</strong>g image technology<br />
Mal<strong>in</strong> Zimm<br />
mov<strong>in</strong>g-image<br />
Mar<strong>in</strong>a Vishmidt<br />
multicultural<br />
Them<strong>in</strong>a Kader<br />
multiculturalism<br />
Rachel Mason<br />
multidiscipl<strong>in</strong>ary collaboration<br />
Katja Fleischmann<br />
multi-discipl<strong>in</strong>ary healthcare<br />
Bill Ribbans<br />
multimedia<br />
Johannes Birr<strong>in</strong>ger<br />
Kenneth G. Hay<br />
multimodal semiosis<br />
Janne Morton<br />
multimodal texts<br />
Mara Martnez Lirola<br />
multi-perspectives<br />
Darryl Hock<strong>in</strong>g<br />
multisensory <strong>in</strong>terfaces<br />
Luisa Paraguai<br />
multi-sensory perception<br />
medium<br />
Francis Halsall<br />
multi-site performance<br />
A.B.D Nadja Masura<br />
mural pa<strong>in</strong>t<strong>in</strong>g<br />
Kater<strong>in</strong>a Karoussos<br />
Musango<br />
George Kyeyune<br />
museum<br />
Hannele Weir<br />
museum collection<br />
Makoto Ishikawa<br />
museum education<br />
Stephanie Shestakow<br />
Rachel de Sousa Vianna<br />
museum environment<br />
Jungwon Lee<br />
museum experience<br />
Jungwon Lee<br />
museum learn<strong>in</strong>g<br />
Jungwon Lee<br />
museum pedagogy<br />
Mart<strong>in</strong>a Paatela-Niem<strong>in</strong>en<br />
museum studies<br />
Rebecca Reynolds<br />
museum websites<br />
Alison Hsiang-Yi Liu<br />
museums<br />
Rob<strong>in</strong> M. Chandler<br />
Tommaso C<strong>in</strong>ti<br />
Kather<strong>in</strong>a Danko-McGhee<br />
Riikka Haapala<strong>in</strong>en<br />
music<br />
Sophia Krzys Acord<br />
Ia<strong>in</strong> Biggs<br />
Johannes Birr<strong>in</strong>ger<br />
Michael J. Lowis<br />
Mike McAuley<br />
Maria Mendona<br />
Stuart Munro<br />
Col<strong>in</strong> Murrell<br />
Elizabeth Sikiaridi<br />
Pia Smith<br />
Ian Sutherland<br />
music dest<strong>in</strong>ation market<strong>in</strong>g<br />
David Leaver<br />
music <strong>in</strong>dustry<br />
Andrew Dubber<br />
Jonathan Gander<br />
myth<br />
Cyril Camus<br />
mythological synesthesia<br />
Zachary Jones<br />
mythology<br />
Christian Kerrigan<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
myths<br />
Yang Liu<br />
myths and mythology<br />
Giorgio Alberti<br />
nanobots<br />
James K. Gimzewski<br />
Victoria Vesna<br />
nanometre<br />
James K. Gimzewski<br />
Victoria Vesna<br />
nanotechnology<br />
James K. Gimzewski<br />
Christian Kerrigan<br />
Neil Spiller<br />
Paul Thomas<br />
Victoria Vesna<br />
narratability<br />
Milan Jaros<br />
narrative<br />
D. J. Huppatz<br />
Alison James<br />
Mary O'Neill<br />
Jo Pond<br />
narrative erotics<br />
Øyv<strong>in</strong>d Vågnes
narrative polyphony<br />
A. David Lewis<br />
narrative <strong>research</strong><br />
L<strong>in</strong>da Sand<strong>in</strong>o<br />
narratives<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
narrativity<br />
Mal<strong>in</strong> Zimm<br />
narratology<br />
A. David Lewis<br />
natal memory<br />
Griselda Pollock<br />
national identity<br />
Simona Segre Re<strong>in</strong>ach<br />
National Student Survey<br />
Mantz Yorke<br />
nationalism<br />
Graeme Harper<br />
Native American Sweat Lodge<br />
Ryan Sh<strong>in</strong><br />
Steve Willis<br />
natural architectures<br />
Seth Bullock<br />
natural dyes<br />
Cather<strong>in</strong>e Gombe<br />
naturalized epistemology<br />
Chris Smith<br />
nature<br />
Clive Adams<br />
Nicole Porter<br />
NBIC technologies<br />
Natasha Vita-More<br />
negotiation<br />
Marie Jefsiout<strong>in</strong>e<br />
neo- or post-colonialism<br />
Sharon Irish<br />
neo-pragmatism<br />
Matthew Poole<br />
Neosentience<br />
Bill Seaman<br />
net politics<br />
Otto von Busch<br />
net.art<br />
María Mencía<br />
Netherlands<br />
Peter Bosma<br />
network arts<br />
Andrew Gryf Paterson<br />
network development<br />
Kar<strong>in</strong> Drda-Kühn<br />
Dietmar Wiegand<br />
networked identity<br />
Robert W. Sweeny<br />
networks<br />
Seth Bullock<br />
Chris Byrne<br />
Rachel C. Granger<br />
Christ<strong>in</strong>e Hamilton<br />
neural networks<br />
Max B. Kazemzadeh<br />
neuroaesthetics<br />
William P. Seeley<br />
neuroscience<br />
Anne Fenech<br />
new consciousness<br />
Diane Gromala<br />
new humanism movement<br />
Raquel Paricio Garcia<br />
new media<br />
Ruth Beer<br />
Kenneth G. Hay<br />
Nick Haeffner<br />
Rob Harle<br />
Yasm<strong>in</strong> Ibrahim<br />
Kater<strong>in</strong>a Karoussos<br />
Iryna Kuksa<br />
Adam Lauder<br />
Anne Lord<br />
Sunil Manghani<br />
María Mencía<br />
Stuart Munro<br />
Daniel Rub<strong>in</strong>ste<strong>in</strong><br />
Michaela Vamos<br />
Pete Worrall<br />
new media art<br />
Michael Betancourt<br />
new media art theory<br />
Janez Strehovec<br />
new media content as a ride<br />
Janez Strehovec<br />
new media design<br />
Abhigyan S<strong>in</strong>gh<br />
new product development<br />
Nick Barnes<br />
Adele Reid<br />
new world border<br />
Martha Patricia Niño Mojica<br />
New Zealand<br />
Andrew Dubber<br />
Jill Smith<br />
new-media design tools<br />
James Pope<br />
nexus pr<strong>in</strong>ciple<br />
Mike McAuley
Nicolescu<br />
Joseph E. Brenner<br />
n<strong>in</strong>eteenth-century media<br />
culture<br />
Mal<strong>in</strong> Zimm<br />
Nobel Prize <strong>in</strong> Physics<br />
Christoph Bartneck<br />
Matthias Rauterberg<br />
noise<br />
Joseph Nechvatal<br />
nomadic space<br />
Andrea Thoma<br />
non-idealist materialism<br />
Matthew Poole<br />
non-l<strong>in</strong>ear narrative<br />
Anna Laskari<br />
Iro Laskari<br />
non-l<strong>in</strong>ear read<strong>in</strong>g<br />
Adrielle Mitchell<br />
non-l<strong>in</strong>earity<br />
Gordon Calleja<br />
Christian Schwager<br />
non-representational theory<br />
Tim Stephens<br />
non-sites<br />
Francis Halsall<br />
non-traditional<br />
Sarah Tremlett<br />
non-traditional students<br />
Jane Tynan<br />
non-verbal communication<br />
Margo Blythman<br />
Joan Mull<strong>in</strong><br />
Susan Orr<br />
novelist<br />
Lawrence R<strong>in</strong>der<br />
novelty books<br />
Pascal Lefevre<br />
nursery<br />
Victoria de Rijke<br />
nurs<strong>in</strong>g<br />
Anne Lanceley<br />
object<br />
Gillian Robertson<br />
Melissa Trim<strong>in</strong>gham<br />
object handl<strong>in</strong>g<br />
Helen J. Chatterjee<br />
object relations<br />
Jen Webb<br />
observation<br />
Curtis Tappenden<br />
obsolescence<br />
Claudia Sandoval<br />
occupation<br />
Nick Wilson<br />
ocean<br />
Richard Forster<br />
oil pa<strong>in</strong>t<strong>in</strong>g<br />
Eliza Pitri<br />
older people<br />
Hilary Bungay<br />
Stephen Clift<br />
onl<strong>in</strong>e community<br />
Alison Hsiang-Yi Liu<br />
onl<strong>in</strong>e learn<strong>in</strong>g<br />
Christ<strong>in</strong>e Percy<br />
onl<strong>in</strong>e web-based tools<br />
Julian Mal<strong>in</strong>s<br />
Chris McKillop<br />
ontology<br />
Graeme Harper<br />
onto-poetics<br />
Milan Jaros<br />
open source software<br />
Alice Fox<br />
Phil Legard<br />
Nigel Morgan<br />
Matthew Rob<strong>in</strong>son<br />
open/closed consciousness<br />
Nicholas Tresilian<br />
operat<strong>in</strong>g system<br />
Mike Phillips<br />
oppression<br />
Sharon Irish<br />
oral assessment<br />
Heather Symonds<br />
oral history<br />
Gerald<strong>in</strong>e Biddle-Perry<br />
L<strong>in</strong>da Sand<strong>in</strong>o<br />
organic framework<br />
Natalie Woolf<br />
organic <strong>in</strong>terface<br />
J<strong>in</strong>sil Seo<br />
organisms<br />
Oron Catts<br />
organizational studies<br />
Beatriz Acevedo<br />
orientalism<br />
Sheila Cliffe
orig<strong>in</strong><br />
Fernando Leal Audirac<br />
orig<strong>in</strong>s of life<br />
Bruce Damer<br />
ornament<br />
Ruth Pelzer-Montada<br />
orthopaedics<br />
Bill Ribbans<br />
outdoor performance<br />
Rita Marcalo<br />
outreach<br />
Bess Frimodig<br />
outsider <strong>research</strong><br />
Philippa Lyon<br />
pa<strong>in</strong>t<strong>in</strong>g<br />
Joana Duarte Bernardes<br />
Stephen Farth<strong>in</strong>g<br />
Mick F<strong>in</strong>ch<br />
Kenneth G. Hay<br />
Mehrdad Garousi<br />
Jeffrey B. Grubbs<br />
Dr. Beth Harland<br />
Ricardo Marín Viadel<br />
Judith Mottram<br />
Ken Neil<br />
Anne Rob<strong>in</strong>son<br />
Michael Schwab<br />
Judith Tucker<br />
panels<br />
Neil Cohn<br />
panoramic image<br />
Luiz Velho<br />
paradigm shift<br />
Arnold Cusmariu<br />
Patricia Macdonald<br />
Sally J. Morgan<br />
parallaxic remix<br />
Paul Woodrow<br />
parody<br />
Nicholas Theisen<br />
participants<br />
A.B.D Nadja Masura<br />
participation<br />
Bridget Crone<br />
Matt Smith<br />
Mike White<br />
participatory<br />
Curtis Tappenden<br />
participatory environment<br />
Anna Laskari<br />
Iro Laskari<br />
participatory <strong>research</strong><br />
Nick Barnes<br />
Adele Reid<br />
pataphysics<br />
Neil Spiller<br />
pata-physics<br />
Milan Jaros<br />
pat<strong>in</strong>ation<br />
Trish Woods<br />
pattern<br />
Jung A. Huh<br />
Ruth Pelzer-Montada<br />
Paul Auster<br />
Paul Atk<strong>in</strong>son<br />
Paul Cézanne<br />
Sandra Alexander<br />
Paul Karasik<br />
Paul Atk<strong>in</strong>son<br />
peace<br />
Georgia Kakourou Chroni<br />
peak experiences<br />
Michael J. Lowis<br />
pedagogic <strong>research</strong><br />
Karen Bull<br />
Jane Osmond<br />
Mike Tovey<br />
pedagogical reason<strong>in</strong>g<br />
Kerrie Corcoran<br />
Cheryl Sim<br />
pedagogy<br />
Naren Barfield<br />
Rob<strong>in</strong> M. Chandler<br />
Maria Fulkova<br />
Nick Haeffner<br />
Paul Hamilton<br />
Anne Lord<br />
Claire MacDonald<br />
Col<strong>in</strong> Murrell<br />
James Pope<br />
Nick Rowe<br />
Teresa Tipton<br />
peer review<br />
David Durl<strong>in</strong>g<br />
Peoples Progressive Party<br />
(PPP)<br />
Paul Buhle<br />
perception<br />
Bernadette Blair<br />
Isabelle Cho<strong>in</strong>ière<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
Jale Erzen<br />
Murat Germen<br />
Harry Jamieson<br />
Zachary Jones<br />
Ted Krueger<br />
Paul Mart<strong>in</strong><br />
Sandra E. Hoffmann Robbiani<br />
Alexander Sekatskiy<br />
Rachel de Sousa Vianna<br />
Helen Zigmond<br />
perceptual constancy<br />
Stuart Medley<br />
perceptual <strong>in</strong>trigue<br />
Howard Riley
perceptual shift<br />
Margaret Dol<strong>in</strong>sky<br />
performance<br />
Sean Aita<br />
Johannes Birr<strong>in</strong>ger<br />
Emma Cocker<br />
Bridget Crone<br />
Rea Dennis<br />
Graeme Harper<br />
Ted Hiebert<br />
Claire H<strong>in</strong>d<br />
Mark Leahy<br />
Claire MacDonald<br />
Andrew Picker<strong>in</strong>g<br />
Brian Reff<strong>in</strong> Smith<br />
Adele Senior<br />
Malaika Sarco- Thomas<br />
Cathy Turner<br />
Victor I. Ukaegbu<br />
Monika Weiss<br />
Duncan White<br />
Robert Wilsmore<br />
performance and cognition<br />
Valerie Ann Bugmann Téllez<br />
performance ritual<br />
Barbara Bickel<br />
performance studies<br />
Beverly Redman<br />
performative<br />
Steve Dutton<br />
Steve Sw<strong>in</strong>dells<br />
Jen Webb<br />
performative art<br />
Mirja Hiltunen<br />
performative objects<br />
Krist<strong>in</strong>a Niedderer<br />
performativity<br />
Isabelle Cho<strong>in</strong>ière<br />
Sara Malou Strandvad<br />
performer knowledge<br />
Kjell Yngve Petersen<br />
performer tra<strong>in</strong><strong>in</strong>g<br />
Alissa Clarke<br />
perform<strong>in</strong>g arts<br />
Mark Evans<br />
perseverance<br />
Juan Carlos Pacheco Contreras<br />
personal and professional<br />
development<br />
Noam Austerlitz<br />
personal development<br />
Jess Moriarty<br />
personal development plann<strong>in</strong>g<br />
(PDP)<br />
Julian Mal<strong>in</strong>s<br />
personal knowledge<br />
Estelle Barrett<br />
person-environment<br />
<strong>in</strong>teraction<br />
Jill Franz<br />
perspective<br />
Paul Thomas<br />
Ph.D.<br />
L<strong>in</strong> Holdridge<br />
Katy Macleod<br />
Ph.D. programme<br />
Silvia Pizzocaro<br />
phenomenography<br />
Ann-Mari Edström<br />
Richard Heatly<br />
Christ<strong>in</strong>a Read<strong>in</strong>g<br />
Nicky Ryan<br />
Keith Trigwell<br />
phenomenology<br />
Sandra Alexander<br />
Carlos Castellanos<br />
Clive Cazeaux<br />
Matthew Fuller<br />
Diane Gromala<br />
Julia Jansen<br />
Col<strong>in</strong> Murrell<br />
Wood Roberdeau<br />
phenomenology and design<br />
Tiiu Poldma<br />
Mary Stewart<br />
phenomenology of media<br />
Janez Strehovec<br />
phenomenology. nudity<br />
Rita Marcalo<br />
Phillip Zarrilli<br />
Alissa Clarke<br />
philosophical analysis<br />
Arnold Cusmariu<br />
philosophy<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Sheena Calvert<br />
David Campany<br />
Johanna Drucker<br />
Robert A. Erlew<strong>in</strong>e<br />
Nigel Green<br />
Rob Harle<br />
Julia Jansen<br />
Patrick Maynard<br />
Tony O'Connor<br />
Janez Strehovec<br />
Hilde Van Gelder<br />
philosophy and critical theory<br />
Matthew Poole<br />
philosophy of aesthetics<br />
Toni Ross<br />
philosophy of culture<br />
Gerald Cipriani<br />
philosophy of m<strong>in</strong>d<br />
Brigitta Zics<br />
photographic form<br />
Peter Osborne<br />
photography<br />
Åsa Andersson<br />
Jorella Andrews
Peter Burleigh<br />
Pavel Büchler<br />
Sheena Calvert<br />
David Campany<br />
Jane Coad<br />
Johanna Drucker<br />
Mehrdad Garousi<br />
Murat Germen<br />
Debbie Green<br />
Nigel Green<br />
John Harvey<br />
Neil Henderson<br />
Sophie Jung<br />
Cath Keay<br />
José María Mesías Lema<br />
Peeter L<strong>in</strong>nap<br />
Yorgos Loizos<br />
Patricia Macdonald<br />
Kathy Mackey<br />
Mary Maclean<br />
Ricardo Marín Viadel<br />
Patrick Maynard<br />
Darren Newbury<br />
Peter Osborne<br />
Clare Park<br />
Julia Peck<br />
Ruth Pelzer-Montada<br />
Olivier Richon<br />
Joaquín Roldán Ramírez<br />
Michael Schwab<br />
Kaye Shumack<br />
Shepherd Ste<strong>in</strong>er<br />
Blake Stimson<br />
Andrea Thoma<br />
Myrto Tsilimpounidi<br />
Seija Ulkuniemi<br />
Hilde Van Gelder<br />
Maarten Vanvolsem<br />
Rodrigo Velasco<br />
ShiPu Wang<br />
Joonsung Yoon<br />
photography restrictions<br />
Daniel Palmer<br />
Jessica Whyte<br />
photography theory<br />
Tim Stephens<br />
photomedia<br />
Greg Shapley<br />
photorealism<br />
Ken Neil<br />
physical environment<br />
Peter Hatton<br />
physical <strong>in</strong>teraction<br />
J<strong>in</strong>sil Seo<br />
physics of thought<br />
Jennifer Kanary Nikolov(a)<br />
picture books<br />
Pascal Lefevre<br />
Virg<strong>in</strong>ia Lowe<br />
Pierre Bonnard<br />
L<strong>in</strong> Holdridge<br />
Katy Macleod<br />
pioneers<br />
John A. Lent<br />
Pistoletto<br />
Riikka Haapala<strong>in</strong>en<br />
place<br />
Emily Orley<br />
plaited mats<br />
Cather<strong>in</strong>e Gombe<br />
plaited palm fibre<br />
Kirsten Scott<br />
play<br />
Victoria de Rijke<br />
play orbit<br />
Michael Punt<br />
player consciousness<br />
Margarete Jahrmann<br />
playful activity<br />
Hideshi Uda<br />
playfulness<br />
Mart<strong>in</strong> Pichlmair<br />
playwright<br />
David Greig<br />
Lawrence R<strong>in</strong>der<br />
playwrit<strong>in</strong>g<br />
Cathy Turner<br />
plotless<br />
Mal<strong>in</strong> Zimm<br />
poet<br />
John Fox<br />
Lawrence R<strong>in</strong>der<br />
poetic s<strong>in</strong>gularity<br />
Ian Heywood<br />
poetics<br />
Rose Bond<br />
Giovanni Piazza<br />
poetry<br />
Victoria de Rijke<br />
Claire MacDonald<br />
María Mencía<br />
Polaroid<br />
Neil Henderson<br />
policies<br />
Hélène Mart<strong>in</strong>-Brelot<br />
policy<br />
David Harte<br />
Paul<strong>in</strong>e White<br />
political communication<br />
Yasm<strong>in</strong> Ibrahim<br />
political economy of art and<br />
design<br />
Malcolm Qu<strong>in</strong>n<br />
political history<br />
Michel De Dobbeleer<br />
political metaphor<br />
Jiří Barta<br />
political theory<br />
Suhail Malik
politics<br />
Yasm<strong>in</strong> Ibrahim<br />
Mel Jordan<br />
Jim McGuigan<br />
Malcolm Miles<br />
Mar<strong>in</strong>a Vishmidt<br />
politics song<br />
Ia<strong>in</strong> Biggs<br />
polysens<strong>in</strong>g<br />
Bill Seaman<br />
pop culture<br />
Marius Kw<strong>in</strong>t<br />
Mark Leckey<br />
popular culture<br />
Paul Duncum<br />
Andy Hewitt<br />
Marc S<strong>in</strong>ger<br />
Nathan Wiseman-Trowse<br />
popular fiction<br />
Cyril Camus<br />
popular music<br />
Nathan Wiseman-Trowse<br />
portfolio<br />
Doug Boughton<br />
Portuguese patrimony<br />
Maria Flôr Dias<br />
Elisa Lessa<br />
post-autonomy<br />
Mary Anne Francis<br />
post-Christianity<br />
Robert A. Erlew<strong>in</strong>e<br />
post-colonial<br />
Donna J. Cox<br />
postcolonial encounters<br />
Adetty Pérez Miles<br />
postcolonialism<br />
L<strong>in</strong>da Ashton<br />
post-critical<br />
Paul Duncum<br />
post-digital age realms of<br />
learn<strong>in</strong>g creativity<br />
Mel Alexenberg<br />
postdigital analogue<br />
Michael Punt<br />
post-digitalization<br />
Peter Osborne<br />
posters<br />
Debao Xiang<br />
Postgraduate Diploma courses<br />
Brian Chalkley<br />
Marcus Verhagen<br />
postgraduate students<br />
Kathar<strong>in</strong>e Sarikakis<br />
posthumanism<br />
Gordon Calleja<br />
Andrew Picker<strong>in</strong>g<br />
Christian Schwager<br />
post-mechanical age<br />
Milan Jaros<br />
postmedium<br />
Francis Halsall<br />
postmemory<br />
Judith Tucker<br />
postmodern art<br />
Shelby Moser<br />
postmodernism<br />
L<strong>in</strong>da Ashton<br />
Ted Hiebert<br />
David Leaver<br />
Sally J. Morgan<br />
Wood Roberdeau<br />
Andrés Romero-Jódar<br />
Tomaz Zupancic<br />
post-phenomenology<br />
Tim Stephens<br />
post-secular<br />
Mike K<strong>in</strong>g<br />
post-sixties and contemporary<br />
art<br />
Toni Ross<br />
post-structuralist philosophy<br />
Mike Starr<br />
pour<strong>in</strong>g<br />
Deborah Rob<strong>in</strong>son<br />
poverty<br />
Kim Berman<br />
power<br />
Angela Devas<br />
Debbie Green<br />
Clare Park<br />
Helena Webster<br />
Helen Zigmond<br />
practice<br />
Estelle Barrett<br />
Ben Calvert<br />
Bernadette Casey<br />
Kim Charnley<br />
Teena Clerke<br />
Mick F<strong>in</strong>ch<br />
Rebecca Fortnum<br />
Janey Gordon<br />
Jane Graves<br />
Richard Heatly<br />
Ross W. Prior<br />
Jan-Henn<strong>in</strong>g Raff<br />
Chris Smith<br />
Keith Trigwell<br />
Hannele Weir<br />
Mike White<br />
practice and theory<br />
M<strong>in</strong>acha Cam<strong>in</strong>o<br />
practice-as-<strong>research</strong><br />
Peter Dallow
practice-based<br />
Daniela Büchler<br />
practice-based <strong>research</strong><br />
Margo Blythman<br />
Paul Coldwell<br />
Kit Grauer<br />
Iryna Kuksa<br />
Anne Lord<br />
Joan Mull<strong>in</strong><br />
Susan Orr<br />
Kathryn Ricketts<br />
Anne Rob<strong>in</strong>son<br />
Paul<strong>in</strong>e Sameshima<br />
Gu Xiong<br />
practice-led<br />
Daniela Büchler<br />
practice-led <strong>research</strong><br />
Susan Carden<br />
Jillian Hamilton<br />
Luke Jaaniste<br />
Nithikul Nimkulrat<br />
L<strong>in</strong>den Reilly<br />
practitioner enquiry<br />
Christopher Klopper<br />
pragmatism<br />
Mark Johnson<br />
John Roberts<br />
Prague<br />
Marian Mazzone<br />
praxis<br />
Val Diggle<br />
preschool and primary<br />
education<br />
Vasiliki Labitsi<br />
preschool children<br />
Magouliotis Apostolos<br />
Moraiti Tzeni<br />
presence<br />
Bridget Crone<br />
presence <strong>in</strong>teractive art<br />
Diane Gromala<br />
pre-service teachers<br />
Anita Ng Heung Sang<br />
primary<br />
Martha Christopoulou<br />
primary teacher tra<strong>in</strong><strong>in</strong>g<br />
Joaquín Roldán Ramírez<br />
primordial digital soup<br />
Bruce Damer<br />
pr<strong>in</strong>t culture<br />
Pascal Lefevre<br />
pr<strong>in</strong>ted textile<br />
Kather<strong>in</strong>e Townsend<br />
pr<strong>in</strong>tmaker<br />
John Fox<br />
pr<strong>in</strong>tmak<strong>in</strong>g<br />
Cather<strong>in</strong>e Gombe<br />
Jeffrey B. Grubbs<br />
Paul Hamilton<br />
Ruth Pelzer-Montada<br />
Michael Schwab<br />
prison<br />
Maria Mendona<br />
problem-based<br />
Kirsten Hardie<br />
problems<br />
Debao Xiang<br />
procedure<br />
Michael Jarvis<br />
process<br />
Michael Betancourt<br />
Michael Jarvis<br />
Claire MacDonald<br />
Mary Maclean<br />
Giovanni Piazza<br />
processes<br />
Clive Dilnot<br />
product design<br />
Heidi Yeo<br />
product development<br />
Paul Trott<br />
product semantics<br />
Mart<strong>in</strong> Woolley<br />
Mart<strong>in</strong> Woolley<br />
production<br />
Mie Buhl<br />
Greg Shapley<br />
Duncan White<br />
production manager<br />
Jason Lee<br />
production of culture<br />
Sara Malou Strandvad<br />
professional communication<br />
Darryl Hock<strong>in</strong>g<br />
professional development<br />
Shu-Y<strong>in</strong>g Liu<br />
Jenny Moon<br />
professional education<br />
Lynette Sheridan Burns<br />
professional identity<br />
Hod Orkibi<br />
professional tra<strong>in</strong><strong>in</strong>g<br />
Carol<strong>in</strong>a Marielli Barreto<br />
Rejane Galvão Cout<strong>in</strong>ho<br />
progress<br />
Zygmunt Bauman
progress files<br />
Alison James<br />
project management<br />
Col<strong>in</strong> Murrell<br />
projection<br />
Margaret Dol<strong>in</strong>sky<br />
propaganda<br />
Roy Boyne<br />
propoganda<br />
Dunja Dogo<br />
Bex Lewis<br />
proprioception<br />
Kieran Lyons<br />
prosthetics<br />
Ted Krueger<br />
protocell<br />
Mark A. Bedau<br />
protocells<br />
Christian Kerrigan<br />
proto-c<strong>in</strong>ematic<br />
Mal<strong>in</strong> Zimm<br />
psychedelics<br />
Diana Reed Slattery<br />
psychic<br />
John Harvey<br />
psychic photography<br />
Ted Hiebert<br />
psychoanalysis<br />
Malcolm Qu<strong>in</strong>n<br />
psychodrama<br />
Keren Barzilay-Shechter<br />
psychodrama and<br />
dramatherapy<br />
Hod Orkibi<br />
psychogeography<br />
Norbert Herber<br />
psychological<br />
Gunter Kreutz<br />
Don Stewart<br />
psychological profil<strong>in</strong>g<br />
Anne Massey<br />
psychophysical<br />
Alissa Clarke<br />
public art<br />
Alan Dunn<br />
Alfredo Palacios Garrido<br />
Young Imm Kang Song<br />
Javier Abad Mol<strong>in</strong>a<br />
Denitsa Petrova<br />
Ricardo Reis<br />
Helen Turner<br />
public choice<br />
Alan Coll<strong>in</strong>s<br />
public policies<br />
Carol<strong>in</strong>e Chapa<strong>in</strong><br />
public sculpture<br />
Roy Boyne<br />
public space<br />
Rita L. Irw<strong>in</strong><br />
public spaces<br />
Alan Dunn<br />
public sphere<br />
Paul Clements<br />
Sean Cubitt<br />
public support<br />
Roberta Comunian<br />
publication<br />
Teena Clerke<br />
publish<strong>in</strong>g<br />
Colette Henry<br />
Angus Phillips<br />
Puerto Rico<br />
Sharon Irish<br />
punctuated<br />
Nicholas Tresilian<br />
pupils<br />
Michaela Vamos<br />
puppet<br />
Melissa Trim<strong>in</strong>gham<br />
puppet animation<br />
Jiří Barta<br />
puppetry<br />
Matt Smith<br />
Puritanism<br />
Ia<strong>in</strong> Biggs<br />
purposeless collaboration<br />
Lewis Elton<br />
QAA benchmarks<br />
Janey Gordon<br />
qualia<br />
Raquel Paricio Garcia<br />
qualifications<br />
Simon Roodhouse<br />
qualitative assessments<br />
Chris Mathieu<br />
qualitative <strong>research</strong><br />
M<strong>in</strong>acha Cam<strong>in</strong>o<br />
Brent Wilson
qualitative <strong>research</strong> methods<br />
Tiiu Poldma<br />
Mary Stewart<br />
qualitative variation<br />
Sue Bailey<br />
L<strong>in</strong>da Drew<br />
Alison Shreeve<br />
quality assurance<br />
Rob Cowdroy<br />
Anthony Williams<br />
quality culturecomplexity<br />
theory<br />
Lewis Elton<br />
quality of life<br />
Paul<strong>in</strong>e White<br />
queer c<strong>in</strong>ema<br />
Ricardo Peach<br />
queer relations/relationships<br />
Miriam Brown Spiers<br />
queer theory<br />
Belidson Dias<br />
Susan S<strong>in</strong>k<strong>in</strong>son<br />
questions<br />
L<strong>in</strong>den Reilly<br />
race awareness<br />
Rob<strong>in</strong> M. Chandler<br />
radio teach<strong>in</strong>g<br />
Andrew Dubber<br />
RAE<br />
Euan McArthur<br />
Ra<strong>in</strong>dance<br />
Chris Speed<br />
random number generation<br />
Andreas Schiffler<br />
random order<br />
Peter Stott<br />
rational<br />
H. L. Hix<br />
read<strong>in</strong>g<br />
Mark Leahy<br />
Adrian Page<br />
real time<br />
René Berger<br />
realism<br />
Antonia Bardis<br />
Nick Haeffner<br />
Stuart Medley<br />
Mar<strong>in</strong>a Vishmidt<br />
reality<br />
Diana Reed Slattery<br />
reception<br />
Duncan White<br />
recipient design<br />
Mary O'Neill<br />
recognition<br />
Amanda Beech<br />
recomb<strong>in</strong>ant music<br />
Bill Seaman<br />
recomb<strong>in</strong>ant poetics<br />
Bill Seaman<br />
re-enactment<br />
Shezad Dawood<br />
reflection<br />
Noam Austerlitz<br />
Bernadette Blair<br />
Angela Devas<br />
Julian Mal<strong>in</strong>s<br />
Chris McKillop<br />
Jenny Moon<br />
David Richmond<br />
Jules Dorey Richmond<br />
reflection and creation<br />
Carl-Peter Buschkühle<br />
reflection and learn<strong>in</strong>g<br />
Christ<strong>in</strong>e Hardy<br />
reflection and practice<br />
Ian Heywood<br />
reflective learn<strong>in</strong>g<br />
Helena Webster<br />
reflective practice<br />
L<strong>in</strong>da Ashton<br />
M<strong>in</strong>acha Cam<strong>in</strong>o<br />
Harriet Edwards<br />
Mark Evans<br />
Christ<strong>in</strong>e Hardy<br />
Julia Lockheart<br />
Nithikul Nimkulrat<br />
Christoph Raatz<br />
Maziar Rae<strong>in</strong><br />
Cheung-on Tam<br />
reflexivity<br />
Christopher Crouch<br />
David Richmond<br />
Jules Dorey Richmond<br />
regeneration<br />
Susan Bagwell<br />
Jo Foord<br />
Reggio Emilia<br />
Giovanni Piazza<br />
regional development<br />
Kar<strong>in</strong> Drda-Kühn<br />
Dietmar Wiegand<br />
Regional Studies Association<br />
Nick Clifton<br />
rehabilitation<br />
Maria Mendona<br />
rehabilitation support<br />
Matthew Bushell
ehearsal<br />
Emma Cocker<br />
reification<br />
Peter Stott<br />
relational (nature of design)<br />
John Wood<br />
relational aesthetics evolution<br />
Graham Coulter-Smith<br />
relational development<br />
Nancy Beardall<br />
relational mapp<strong>in</strong>g<br />
Rachel C. Granger<br />
Christ<strong>in</strong>e Hamilton<br />
relationships<br />
Harry Jamieson<br />
Zachary Jones<br />
relevance<br />
Hannah Jones<br />
religion<br />
Leila Amaral<br />
Robert A. Erlew<strong>in</strong>e<br />
Ren-Lai Hwang<br />
remembrance<br />
Paul Gough<br />
Renaissance<br />
Augustus Ve<strong>in</strong>oglou<br />
Rendell<br />
Emily Orley<br />
renegotiat<strong>in</strong>g competences<br />
Mogens Jacobsen<br />
Morten Søndergaard<br />
repertoires<br />
Kazuhiro Ishizaki<br />
Wenchun Wang<br />
repetition<br />
Ruth Pelzer-Montada<br />
report<strong>in</strong>g and propos<strong>in</strong>g<br />
Denitsa Petrova<br />
representation<br />
Bridget Crone<br />
Murat Germen<br />
Paul Gough<br />
Christ<strong>in</strong>e Ballengee Morris<br />
Mofizur Rhaman<br />
John Roberts<br />
James H. Sanders III<br />
representation of place<br />
Peter Hatton<br />
<strong>research</strong><br />
Sue Bailey<br />
Amanda Bill<br />
Veena Chattaraman<br />
Silke Dettmers<br />
L<strong>in</strong>da Drew<br />
Col<strong>in</strong> Murrell<br />
Joanna Rees<br />
Chetan S. Sankar<br />
Alison Shreeve<br />
Jill Smith<br />
<strong>research</strong> and development<br />
Antonia Clews<br />
<strong>research</strong> and resource<br />
development<br />
Rebecca Reynolds<br />
<strong>research</strong> as art<br />
Robyn Gibson<br />
<strong>research</strong> degrees<br />
Darren Newbury<br />
<strong>research</strong> dissem<strong>in</strong>ation<br />
Stanislav Roudavski<br />
<strong>research</strong> education<br />
Krist<strong>in</strong>a Niedderer<br />
<strong>research</strong> exhibition<br />
Krist<strong>in</strong>a Niedderer<br />
<strong>research</strong> grid<br />
Yukihiko Yoshida<br />
<strong>research</strong> <strong>in</strong> education<br />
Analice Pillar<br />
<strong>research</strong> <strong>in</strong>to practice<br />
Rebecca Fortnum<br />
Ruth Pelzer-Montada<br />
<strong>research</strong> management<br />
David Durl<strong>in</strong>g<br />
<strong>research</strong> methodology<br />
L<strong>in</strong> Holdridge<br />
Katy Macleod<br />
Stanislav Roudavski<br />
<strong>research</strong> methods<br />
Christopher Crouch<br />
Darren Newbury<br />
<strong>research</strong> network<br />
Nick Clifton<br />
<strong>research</strong> practice<br />
Maarit Mäkelä<br />
<strong>research</strong> skills development<br />
Silvia Pizzocaro<br />
<strong>research</strong> tra<strong>in</strong><strong>in</strong>g<br />
Darren Newbury<br />
<strong>research</strong>/creation methodology<br />
Rita L. Irw<strong>in</strong><br />
<strong>research</strong>-based imagery<br />
Richard Woodfield<br />
<strong>research</strong>-based practice<br />
Euan McArthur<br />
<strong>research</strong>er<br />
Peter Dallow
esilience<br />
Don Stewart<br />
responsive architecture<br />
Buthayna Eilouti<br />
retention<br />
Mantz Yorke<br />
rheomorphism<br />
René Berger<br />
rhetoric<br />
Marlene Ivey<br />
Inês Secca Ruivo<br />
Louise Valent<strong>in</strong>e<br />
rhizome<br />
Gordon Calleja<br />
Christian Schwager<br />
Jen Webb<br />
rhythm-analysis<br />
Norbert Herber<br />
risk<br />
Nick Barnes<br />
Anna M Dempster<br />
Adele Reid<br />
risk management<br />
Denitsa Petrova<br />
ritual<br />
Jorge Gumbe<br />
Robert Smithson<br />
David Wood<br />
robot<br />
Mark A. Bedau<br />
Will Thorne<br />
Soichiro Tsuda<br />
robotic art<br />
Tania Fraga<br />
robotics<br />
Valerie Ann Bugmann Téllez<br />
Steve Grand<br />
role play<br />
Elif Ayiter<br />
David Grant<br />
Rothko<br />
Simon Morley<br />
rural communities<br />
Juan Carlos Pacheco Contreras<br />
rural regions<br />
Paul<strong>in</strong>e White<br />
sacred<br />
Adele Senior<br />
sacred symbology<br />
Dunja Dogo<br />
sales-performers<br />
Victor I. Ukaegbu<br />
samizdat<br />
Laurence Figgis<br />
Stuart Murray<br />
Alex Pollard<br />
Sandra Reeve<br />
Alissa Clarke<br />
schizophrenia<br />
Nicholas Theisen<br />
scholarly teach<strong>in</strong>g<br />
Barbara de la Harpe<br />
J. Fiona Peterson<br />
scholarship of teach<strong>in</strong>g and<br />
learn<strong>in</strong>g (SoTL)<br />
Barbara de la Harpe<br />
J. Fiona Peterson<br />
school art<br />
Folkert Haanstra<br />
science<br />
Catal<strong>in</strong>a Cepeda<br />
John Harvey<br />
Rita Marcalo<br />
Michael Punt<br />
Paul Thomas<br />
Vuk Uskoković<br />
Trish Woods<br />
science and art<br />
Ruth Beer<br />
science and technology<br />
N<strong>in</strong>a Czegledy<br />
science critic<br />
Margarete Jahrmann<br />
science fiction<br />
Mike Starr<br />
sculpture<br />
Arnold Cusmariu<br />
Silke Dettmers<br />
Santiago Navarro<br />
Augustus Ve<strong>in</strong>oglou<br />
second life<br />
Gregory P. Garvey<br />
Gloria Gómez-Diago<br />
Second Life<br />
Iryna Kuksa<br />
Lilly (Li-Fen) Lu<br />
secondary colours<br />
Magouliotis Apostolos<br />
Moraiti Tzeni<br />
secondary education<br />
Marie-Louise Damen<br />
Joachim Kettel<br />
Kathy Mackey<br />
secondary school<br />
Emil Gaul<br />
secondary teacher education<br />
Toshio Naoe
secondary-school<br />
Michaela Vamos<br />
second-order cybernetics<br />
Bill Seaman<br />
security<br />
Zygmunt Bauman<br />
selection<br />
Ingrid Böck<br />
self and peer analysis<br />
Ajay Kumar<br />
self-concept<br />
Michael R. Solomon<br />
self-expression<br />
Ana Marta González<br />
self-organization<br />
Steve Grand<br />
Stephen Jones<br />
self-publish<strong>in</strong>g<br />
Laurence Figgis<br />
Stuart Murray<br />
Alex Pollard<br />
self-reflection<br />
Val Diggle<br />
Robert Pepperell<br />
self-representation<br />
Adrielle Mitchell<br />
semi-liv<strong>in</strong>g<br />
Adele Senior<br />
semiotic<br />
Mary Stokrocki<br />
semiotics<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
René Stettler<br />
seniors<br />
Ela<strong>in</strong>e Lally<br />
sensation<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Mal<strong>in</strong> Zimm<br />
sense activity<br />
Estelle Barrett<br />
sense of place<br />
Javier Abad Mol<strong>in</strong>a<br />
sense perception<br />
Sandra Alexander<br />
Clive Cazeaux<br />
Kerst<strong>in</strong> Mey<br />
Kathryn Moore<br />
senses<br />
Ted Krueger<br />
sensible<br />
John Roberts<br />
sensitivity<br />
Harry Jamieson<br />
sensoria<br />
Matthew Fuller<br />
sensory<br />
Jale Erzen<br />
sensory substitution<br />
Ted Krueger<br />
sequential art<br />
Roberto Bartual<br />
seriality<br />
Nicole McDaniel<br />
sexual health<br />
Kathar<strong>in</strong>e Low<br />
sexuality<br />
Tara Chittenden<br />
shamanism<br />
Mike K<strong>in</strong>g<br />
Semi Ryu<br />
Victor I. Ukaegbu<br />
siege narratives<br />
Michel De Dobbeleer<br />
sight<br />
Kerst<strong>in</strong> Mey<br />
silhouettes<br />
Stuart Medley<br />
silversmith<strong>in</strong>g<br />
Heidi Yeo<br />
Simmel<br />
Zygmunt Bauman<br />
Simon Starl<strong>in</strong>g<br />
Peder Anker<br />
simulation<br />
Anne Bamford<br />
Antonia Bardis<br />
Adele Flood<br />
Steve Grand<br />
Zachary Jones<br />
Kate McGowan<br />
s<strong>in</strong>cerity<br />
Clovis Blackwell<br />
s<strong>in</strong>g<strong>in</strong>g<br />
Ela<strong>in</strong>e Lally<br />
s<strong>in</strong>uosity<br />
Guillaume Paris<br />
Site-specificity; Performativity<br />
Ruth Pelzer-Montada<br />
site-writ<strong>in</strong>g<br />
Emily Orley
situated learn<strong>in</strong>g<br />
Anja Kraus<br />
Kazuji Mogi<br />
Miho Shimohara<br />
situational aesthetics<br />
Riikka Haapala<strong>in</strong>en<br />
situationism<br />
Roy Boyne<br />
skill<br />
Harry Jamieson<br />
Imogen Racz<br />
Jessica Turrell<br />
sk<strong>in</strong><br />
Ron Broglio<br />
Rikke Hansen<br />
slamhound<br />
Neil Spiller<br />
Slavic languages<br />
Michel De Dobbeleer<br />
slogans<br />
Debao Xiang<br />
small bus<strong>in</strong>ess policy<br />
Susan Bagwell<br />
smart chemical agents<br />
Mart<strong>in</strong> M. Hanczyc<br />
Takashi Ikegami<br />
Snaebjornsdottir and Wilson<br />
Ron Broglio<br />
snapshot<br />
Antonia Bardis<br />
social action<br />
Young Imm Kang Song<br />
social and cultural <strong>in</strong>equalities<br />
Jo Foord<br />
social and cultural theory<br />
Andy Hewitt<br />
social awareness<br />
C<strong>in</strong>dy Hasio<br />
social capital<br />
Rachel C. Granger<br />
Christ<strong>in</strong>e Hamilton<br />
social care<br />
Jane Coad<br />
Paul G. Dempster<br />
social change<br />
Myrto Tsilimpounidi<br />
social change and <strong>in</strong>clusion<br />
María Del Río Diéguez<br />
Marián López Fernández-Cao<br />
Matilde Mollá G<strong>in</strong>er<br />
Miguel Domínguez Rigo<br />
Julio Romero Rodríguez<br />
Ana Eva Iribas Rudín<br />
Rosaura Navajas Seco<br />
Catal<strong>in</strong>a Rigo Vanrell<br />
social constructivism<br />
Kazuji Mogi<br />
Miho Shimohara<br />
social conversation<br />
Ana Marta González<br />
social creativity<br />
Kaye Shumack<br />
social engagement<br />
Bess Frimodig<br />
social form<br />
Peter Osborne<br />
social <strong>in</strong>clusion<br />
Nick Rowe<br />
social <strong>in</strong>teraction<br />
Sophia Krzys Acord<br />
Tarja-Kaar<strong>in</strong>a Laamanen<br />
Ian Sutherland<br />
social navigation<br />
Chris Speed<br />
social network analysis<br />
Tommaso C<strong>in</strong>ti<br />
social network<strong>in</strong>g<br />
Roy Boyne<br />
Ray Gallon<br />
social quality<br />
Michele Trimarchi<br />
social science<br />
Sue Hack<strong>in</strong>g<br />
social values<br />
Peeter L<strong>in</strong>nap<br />
society<br />
Jaspar Joseph-Lester<br />
society and technology<br />
Monika Codourey<br />
socio-cultural narratives<br />
Kathryn Grushka<br />
socio-cultural studies<br />
Jill Franz<br />
socio-ecological systems<br />
Juan Carlos Pacheco Contreras<br />
sociology<br />
Roy Boyne<br />
Marie-Louise Damen<br />
Marco Pellitteri<br />
sociology of art<br />
Sara Malou Strandvad<br />
sociology of Labour<br />
Chris Mathieu
sociology of organizations<br />
Chris Mathieu<br />
sociology of religion<br />
Chris Mathieu<br />
socio-materiality<br />
Sara Malou Strandvad<br />
somatic<br />
Isabelle Cho<strong>in</strong>ière<br />
sonification<br />
Andrea Polli<br />
sound<br />
Victoria de Rijke<br />
Kenneth G. Hay<br />
sound compos<strong>in</strong>g<br />
Joel Cahen<br />
sound-generated poems<br />
María Mencía<br />
South Africa<br />
Kathar<strong>in</strong>e Low<br />
southern regionalism<br />
Daniel T. Ste<strong>in</strong><br />
Soviet Russia<br />
Dunja Dogo<br />
space<br />
Amos Bianchi<br />
Jung A. Huh<br />
Adam Kossoff<br />
Christian Mieves<br />
Joseph Nechvatal<br />
Olivia Sagan<br />
space of perception<br />
Raquel Paricio Garcia<br />
space of representation<br />
Raquel Paricio Garcia<br />
spaces<br />
Peter Burleigh<br />
spatial ontology<br />
Naren Barfield<br />
spatial practice<br />
Peter Hatton<br />
spatial sequence<br />
Sandra E. Hoffmann Robbiani<br />
spatiality<br />
Mal<strong>in</strong> Zimm<br />
specialist discourse<br />
Sally J. Morgan<br />
spectacle<br />
Roy Boyne<br />
spectator<br />
Shilpa Venkatachalam<br />
Mal<strong>in</strong> Zimm<br />
spectatorship<br />
Belidson Dias<br />
Susan S<strong>in</strong>k<strong>in</strong>son<br />
speculation<br />
Denitsa Petrova<br />
Mar<strong>in</strong>a Vishmidt<br />
speculative materialism<br />
Stephen Thompson<br />
speech<br />
Beverly Redman<br />
speed<br />
Deborah Rob<strong>in</strong>son<br />
spiritual<br />
Isabelle Cho<strong>in</strong>ière<br />
Michael J. Lowis<br />
spiritualism<br />
John Harvey<br />
spirituality<br />
David Gall<br />
Andrew Picker<strong>in</strong>g<br />
Semi Ryu<br />
status quo<br />
Debao Xiang<br />
stereotypes<br />
Natascha Radclyffe-Thomas<br />
stigma<br />
Nick Rowe<br />
stillness<br />
Emma Cocker<br />
Stitches<br />
Øyv<strong>in</strong>d Vågnes<br />
stochastic processes<br />
Andreas Schiffler<br />
stop motion<br />
Alice Gambrell<br />
storytell<strong>in</strong>g<br />
Cecilia Häggström<br />
Ryan Patrick<br />
strategic management<br />
Anna M Dempster<br />
strategic resources<br />
Jonathan Gander<br />
Alison Rieple<br />
strategies<br />
David Harte<br />
stress<br />
Silvia Sovic
strip-photography<br />
Maarten Vanvolsem<br />
structure<br />
Jung A. Huh<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
student broadcast<strong>in</strong>g<br />
Andrew Dubber<br />
student engagement<br />
Robyn Gibson<br />
student experience<br />
Bernadette Blair<br />
Chris McKillop<br />
Mantz Yorke<br />
student needs<br />
Jane Charlton<br />
student presentations<br />
Janne Morton<br />
student services<br />
Yvonne L<strong>in</strong>coln<br />
student support<br />
Julia Peck<br />
student views<br />
Christ<strong>in</strong>e Geraghty<br />
student voices<br />
Heather Symonds<br />
student-centred<br />
Kirsten Hardie<br />
students art<br />
Jennifer Elsden-Clifton<br />
students' experience<br />
Noam Austerlitz<br />
studio art<br />
Ann-Mari Edström<br />
studio learn<strong>in</strong>g and teach<strong>in</strong>g<br />
Barbara de la Harpe<br />
J. Fiona Peterson<br />
studio practice<br />
Kenneth G. Hay<br />
style<br />
Virg<strong>in</strong>ia Lowe<br />
subcultures<br />
Emil Gaul<br />
subject<br />
Amanda Beech<br />
Bridget Crone<br />
subjectivation<br />
Amos Bianchi<br />
subjectivity<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
Angela Devas<br />
Jennifer Elsden-Clifton<br />
Martha Patricia Niño Mojica<br />
subjectivization<br />
John Roberts<br />
sublime<br />
Roy Boyne<br />
subtitle poetry<br />
Sarah Tremlett<br />
suburbs<br />
Gal<strong>in</strong>a Gornostaeva<br />
subversion<br />
Sally J. Morgan<br />
subversive<br />
Claudia Sandoval<br />
supervision<br />
Ben Calvert<br />
Bernadette Casey<br />
Ann-Mari Edström<br />
surface<br />
Ron Broglio<br />
surreal<br />
Neil Spiller<br />
surrealism<br />
Neil Spiller<br />
surveillance<br />
Monika Codourey<br />
Angela Devas<br />
Daniel Palmer<br />
Jessica Whyte<br />
survey<br />
Michaela Vamos<br />
susta<strong>in</strong>ability<br />
Rachel Armstrong<br />
Laura Chess<strong>in</strong><br />
Gregg Garf<strong>in</strong><br />
Michael Evan Goodsite<br />
Faith Kane<br />
Kathy Miraglia<br />
Ole John Nielsen<br />
Rebecca Reubens<br />
Cathy Smilan<br />
Mart<strong>in</strong> Woolley<br />
susta<strong>in</strong>able design<br />
Heather Symonds<br />
Suzanne Wasserman<br />
Paul Buhle<br />
Swedish sexual politics<br />
Dirk G<strong>in</strong>dt<br />
sylexiad<br />
Robert Hillier<br />
symbiogenesis<br />
Carlos Castellanos<br />
Sylvia Nagl<br />
symbol<br />
Jane Graves
symbolism<br />
Nana Afia Opoku–Asare<br />
symbology<br />
Dunja Dogo<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
symmetry<br />
António Cerveira P<strong>in</strong>to<br />
synaptic patterns<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
syncretic<br />
Francesco Monico<br />
syncretic reality<br />
Roy Ascott<br />
syncretism<br />
António Cerveira P<strong>in</strong>to<br />
synnoetics<br />
Ross W. Prior<br />
synthesis<br />
Steve Grand<br />
synthetic biology<br />
Rachel Armstrong<br />
Mark A. Bedau<br />
Systemic Functional Grammar<br />
(SFG)<br />
Mara Martnez Lirola<br />
systemic measures<br />
Gilbertto Prado<br />
Clarissa Ribeiro<br />
systems architecture<br />
Michael Evan Goodsite<br />
Sylvia Nagl<br />
Ole John Nielsen<br />
systems of <strong>in</strong>quiry<br />
Julieanna Preston<br />
systems theory<br />
Zachary Jones<br />
tableau<br />
Mick F<strong>in</strong>ch<br />
tacit knowledge<br />
Sophia Krzys Acord<br />
Estelle Barrett<br />
Karen Bull<br />
Yassaman Imani<br />
Jane Osmond<br />
Ross W. Prior<br />
Anne Rob<strong>in</strong>son<br />
Ian Sutherland<br />
Mike Tovey<br />
tacit learn<strong>in</strong>g<br />
Christ<strong>in</strong>e Percy<br />
tag clouds<br />
Chris Speed<br />
tangential visibility<br />
Kathryn Grushka<br />
tangible media<br />
Matteo Ciastellardi<br />
Andrea Cruciani<br />
taoism<br />
Andrew Picker<strong>in</strong>g<br />
Taoism and Buddhism<br />
Simon Morley<br />
taste culture<br />
Emil Gaul<br />
taxidermy<br />
Rikke Hansen<br />
teacher<br />
Maria Fulkova<br />
Ryan Patrick<br />
Teresa Tipton<br />
teacher education<br />
L<strong>in</strong>da Ashton<br />
Mette Gårdvik<br />
Cheung-on Tam<br />
teacher support<br />
Kathy R<strong>in</strong>g<br />
teacher tra<strong>in</strong><strong>in</strong>g<br />
Alfredo Palacios Garrido<br />
Folkert Haanstra<br />
Ricardo Marín Viadel<br />
Maria Jesús Agra Pardiñas<br />
Mirjana Tomasevic Dancevic<br />
Pete Worrall<br />
teach<strong>in</strong>g<br />
Chetan S. Sankar<br />
Shei-chau Wang<br />
ShiPu Wang<br />
teach<strong>in</strong>g film<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs<br />
teach<strong>in</strong>g guidel<strong>in</strong>es<br />
Hideshi Uda<br />
teach<strong>in</strong>g strategy<br />
Brian Chalkley<br />
Marcus Verhagen<br />
team organization<br />
Brynjulf Tellefsen<br />
technics<br />
Adam Kossoff<br />
Technoetic <strong>Arts</strong><br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
technoetics<br />
Roy Ascott<br />
technological adaptation<br />
Francesco Monico<br />
technologies<br />
Anne Bamford<br />
Adele Flood
technologized body<br />
Paul Woodrow<br />
technology<br />
Leila Amaral<br />
Johannes Birr<strong>in</strong>ger<br />
Doug Boughton<br />
Susan Carden<br />
Jacquel<strong>in</strong>e Chanda<br />
Isabelle Cho<strong>in</strong>ière<br />
Sean Cubitt<br />
Suzan Duygu Eristi<br />
John Harvey<br />
Rob Huddleston<br />
Iryna Kuksa<br />
Rita Marcalo<br />
Francesco Mariotti<br />
Judith Mottram<br />
Paul Whittaker<br />
technology for education<br />
Greg More<br />
teen identity<br />
Tara Chittenden<br />
teen media<br />
Tara Chittenden<br />
telematic<br />
Kjell Yngve Petersen<br />
telematics<br />
Roy Ascott<br />
telematics bio-power<br />
Martha Patricia Niño Mojica<br />
teleonomy<br />
António Cerveira P<strong>in</strong>to<br />
television<br />
Clare Kitson<br />
Julia Round<br />
temporal map<br />
Neil Cohn<br />
temporality<br />
Alice Fox<br />
Dr. Beth Harland<br />
Phil Legard<br />
Nigel Morgan<br />
Matthew Rob<strong>in</strong>son<br />
termite mounds<br />
Seth Bullock<br />
terrorism<br />
Roy Boyne<br />
Daniel Palmer<br />
Jessica Whyte<br />
tetrahedral relations<br />
Hannah Jones<br />
tetrahedronauspicious<br />
reason<strong>in</strong>g<br />
John Wood<br />
text<br />
Shezad Dawood<br />
Debbie Green<br />
Max Moswitzer<br />
Selavy Oh<br />
text as a loop<br />
Janez Strehovec<br />
text/image <strong>in</strong>stitute<br />
Steve Dutton<br />
text-based outcomes<br />
Jane Charlton<br />
textile art<br />
Barbara Howey<br />
textile design project<br />
Kai Hakkara<strong>in</strong>en<br />
Henna Lahti<br />
Pirita Seitamaa-Hakkara<strong>in</strong>en<br />
textiles<br />
Susan Carden<br />
Veena Chattaraman<br />
Faith Kane<br />
Nithikul Nimkulrat<br />
textuality<br />
Nicholas Theisen<br />
the body<br />
Jale Erzen<br />
The Devil's Dream<br />
Daniel T. Ste<strong>in</strong><br />
The Forest<br />
Piotr Dumala<br />
the Global Studio<br />
Kerry Harman<br />
The Lad Lit Project<br />
Alexander Kelly<br />
the visual<br />
Andrea Holland<br />
theatre<br />
Sean Aita<br />
Johannes Birr<strong>in</strong>ger<br />
Shezad Dawood<br />
Debbie Green<br />
David Greig<br />
Hilda Ho<br />
Col<strong>in</strong> Murrell<br />
Clare Park<br />
David Richmond<br />
Jules Dorey Richmond<br />
Nick Rowe<br />
John Somers<br />
Cathy Turner<br />
Roger Wooster<br />
theatre and performance<br />
Kathar<strong>in</strong>e Low<br />
theatre history<br />
Beverly Redman<br />
theatre practice<br />
Aylwyn Walsh<br />
theatricality<br />
Bridget Crone<br />
theo-aesthetic<br />
Simon Morley
theology<br />
Robert A. Erlew<strong>in</strong>e<br />
theories of spaces<br />
Bastian Lange<br />
theory<br />
Ben Calvert<br />
Bernadette Casey<br />
Kim Charnley<br />
Mick F<strong>in</strong>ch<br />
theory and practice<br />
Nicky Ryan<br />
theory/practice<br />
Shezad Dawood<br />
theory-practice<br />
<strong>in</strong>terrelationship<br />
Ruth Pelzer-Montada<br />
therapeutic<br />
Melissa Trim<strong>in</strong>gham<br />
therapeutic action<br />
Keren Barzilay-Shechter<br />
therapeutic massage<br />
Mitchell Kossak<br />
therapy<br />
Erica E. Ander<br />
Keren Barzilay-Shechter<br />
Anne Fenech<br />
Col<strong>in</strong> Murrell<br />
thesis writ<strong>in</strong>g<br />
Natalie Woolf<br />
th<strong>in</strong>k<strong>in</strong>g<br />
Rob Cowdroy<br />
Anthony Williams<br />
th<strong>in</strong>k<strong>in</strong>g through writ<strong>in</strong>g<br />
Cecilia Häggström<br />
Third Angel<br />
Alexander Kelly<br />
third-site pedagogy<br />
Brent Wilson<br />
three-card Monte<br />
Ellen K. Levy<br />
three-dimensional design<br />
Robert Pulley<br />
threshold concepts<br />
Karen Bull<br />
Jane Osmond<br />
Mike Tovey<br />
Thunder <strong>in</strong> Guyana<br />
Paul Buhle<br />
ticker tape<br />
Sandra E. Hoffmann Robbiani<br />
TIE<br />
Roger Wooster<br />
time<br />
Neil Cohn<br />
Kate McGowan<br />
Tim Stephens<br />
Maarten Vanvolsem<br />
time and space<br />
Rikke Platz Cortsen<br />
Jochen Ecke<br />
time and the image<br />
Maarten Vanvolsem<br />
time paths<br />
Monika Weiss<br />
time-based architecture<br />
Christian Kerrigan<br />
tissue culture<br />
Oron Catts<br />
Adele Senior<br />
top-down<br />
Ellen K. Levy<br />
topological sculpt<strong>in</strong>g<br />
Mehrdad Garousi<br />
touch<br />
Valerie Ann Bugmann Téllez<br />
Helen J. Chatterjee<br />
toys<br />
Michael Punt<br />
trace<br />
Kate McGowan<br />
Monika Weiss<br />
traditional photograph<br />
Antonia Bardis<br />
tragic<br />
Amanda Beech<br />
tra<strong>in</strong><strong>in</strong>g<br />
Dita Judith Federman<br />
Fred McVittie<br />
transBioArt<br />
Natasha Vita-More<br />
transcendence<br />
Mike K<strong>in</strong>g<br />
transcendental imag<strong>in</strong>g/CGI<br />
Peter Stott<br />
trans-cultural commonalities<br />
Solange Cout<strong>in</strong>ho<br />
Bernard Darras<br />
Eva Miranda<br />
transdiscipl<strong>in</strong>arity<br />
Kathr<strong>in</strong>e Elizabeth Anker<br />
transdiscipl<strong>in</strong>ary<br />
Michael Punt
trans-discipl<strong>in</strong>ary doma<strong>in</strong>s<br />
Mogens Jacobsen<br />
Morten Søndergaard<br />
transferable skills<br />
Jason Lee<br />
transformation<br />
Jennifer Elsden-Clifton<br />
C<strong>in</strong>dy Hasio<br />
transformative learn<strong>in</strong>g<br />
Paul Mart<strong>in</strong><br />
transitional<br />
Olivia Sagan<br />
transnational<br />
Sean Cubitt<br />
transnational cities<br />
Rita L. Irw<strong>in</strong><br />
transvergence<br />
Fernando Leal Audirac<br />
António Cerveira P<strong>in</strong>to<br />
trauma<br />
Lily Markiewicz<br />
Øyv<strong>in</strong>d Vågnes<br />
travel<br />
Rodrigo Velasco<br />
tribal market<strong>in</strong>g<br />
David Leaver<br />
triptychs<br />
Anita S<strong>in</strong>ner<br />
tutor-student <strong>in</strong>teraction<br />
Joan Turner<br />
tutor-student relationship<br />
Helena Webster<br />
typography<br />
Cal Swann<br />
ubiquity<br />
Lucía Ayala<br />
Uganda<br />
Cather<strong>in</strong>e Gombe<br />
Joachim Kettel<br />
George Kyeyune<br />
ultimate gestalt<br />
Peter Stott<br />
Umwelt<br />
Ron Broglio<br />
unconscious<br />
Jane Graves<br />
unconscious dream<br />
Barbara Rauch<br />
underground<br />
Rachel C. Granger<br />
Christ<strong>in</strong>e Hamilton<br />
understand<strong>in</strong>g<br />
Åsa Andersson<br />
understand<strong>in</strong>g art<br />
Kazuhiro Ishizaki<br />
Wenchun Wang<br />
United K<strong>in</strong>gdom<br />
Stuart Cunn<strong>in</strong>gham<br />
Peter Higgs<br />
United States of America<br />
Them<strong>in</strong>a Kader<br />
unity of knowledge<br />
Joseph E. Brenner<br />
unmediated mediation<br />
René Berger<br />
urban<br />
Jo Foord<br />
Frans Vogelaar<br />
urban art<br />
Tyler Denmead<br />
urban design<br />
Fabian Neuhaus<br />
urban development<br />
Jo Foord<br />
urban ecology<br />
N<strong>in</strong>a Czegledy<br />
urban environment<br />
Peter Hatton<br />
Fabian Neuhaus<br />
urban modernization<br />
Jaspar Joseph-Lester<br />
urban plann<strong>in</strong>g<br />
Jaspar Joseph-Lester<br />
urban regeneration<br />
Jaspar Joseph-Lester<br />
Felix Robb<strong>in</strong>s<br />
urban study<br />
Chen Xu<br />
Liu Yan<br />
urbanism<br />
Malcolm Miles<br />
user <strong>research</strong><br />
Mart<strong>in</strong> Woolley<br />
V For Vendetta<br />
James Reynolds<br />
Valazquez Mach<strong>in</strong>e<br />
Neil Spiller
validity claims<br />
Christopher Crouch<br />
value<br />
Mar<strong>in</strong>a Vishmidt<br />
values<br />
Chris Mathieu<br />
Vargas<br />
Giovanni Aloi<br />
vernacular concepts<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs<br />
vessel<br />
Imogen Racz<br />
video<br />
Johannes Birr<strong>in</strong>ger<br />
Jaspar Joseph-Lester<br />
Sophie Jung<br />
Adam Kossoff<br />
Monika Weiss<br />
Duncan White<br />
video art<br />
Michael Betancourt<br />
video feedback<br />
Robert Pepperell<br />
video games<br />
Astrid Enssl<strong>in</strong><br />
Greg More<br />
video pa<strong>in</strong>t<strong>in</strong>g<br />
Sarah Tremlett<br />
viewer<br />
L<strong>in</strong>dsay Hughes<br />
view<strong>in</strong>g<br />
Mie Buhl<br />
violence<br />
Hannele Weir<br />
viral methods<br />
Ruth Pelzer-Montada<br />
virtual architecture<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
Murat Germen<br />
virtual collaborative systems<br />
Maurizio Forte<br />
Gregorij Kurillo<br />
virtual design studio<br />
Henna Lahti<br />
Pirita Seitamaa-Hakkara<strong>in</strong>en<br />
virtual design studio<br />
accessibility<br />
Kai Hakkara<strong>in</strong>en<br />
virtual design/architecture<br />
Elif Ayiter<br />
virtual learn<strong>in</strong>g environment<br />
Elif Ayiter<br />
Lilly (Li-Fen) Lu<br />
virtual music<br />
Emanuel Dimas de Melo<br />
Pimenta<br />
virtual perspective<br />
Peter Stott<br />
virtual reality<br />
Lucía Ayala<br />
Donna J. Cox<br />
Lily Díaz<br />
Tania Fraga<br />
Murat Germen<br />
Francesco Monico<br />
Joseph Nechvatal<br />
Adrian Page<br />
Semi Ryu<br />
Luiz Velho<br />
Mal<strong>in</strong> Zimm<br />
virtual travell<strong>in</strong>g<br />
Mal<strong>in</strong> Zimm<br />
virtual world<br />
Anne Bamford<br />
Adele Flood<br />
virtual worlds<br />
Julia Gaimster<br />
Mario Gerosa<br />
Michael R. Solomon<br />
virtuality<br />
Mal<strong>in</strong> Zimm<br />
virtual-real<br />
Dew Harrison<br />
vision<br />
William P. Seeley<br />
L<strong>in</strong>da J. Thomson<br />
visitor experience<br />
Jungwon Lee<br />
visitor studies<br />
Alison Hsiang-Yi Liu<br />
Visorama<br />
Luiz Velho<br />
visual analysis<br />
Janne Morton<br />
visual and verbal language<br />
Philippa Lyon<br />
visual argument<br />
Joaquín Roldán Ramírez<br />
visual art<br />
Barbara Bickel<br />
Kerrie Corcoran<br />
Christopher Crouch<br />
Cath Keay<br />
Riikka Latva-Somppi<br />
Ken Neil<br />
Cheryl Sim<br />
visual art practice<br />
Ann-Mari Edström<br />
visual arts<br />
Gerald Cipriani<br />
Ourania Kouvou
Anne Lord<br />
Stuart Munro<br />
Brigitta Zics<br />
visual arts philosophy<br />
Derek Whitehead<br />
visual closure<br />
Stuart Medley<br />
visual communication<br />
Georgia Kakourou Chroni<br />
Seija Ulkuniemi<br />
visual communications<br />
Yasm<strong>in</strong> Ibrahim<br />
visual culture<br />
Doug Boughton<br />
Mie Buhl<br />
Martha Christopoulou<br />
Belidson Dias<br />
Paul Duncum<br />
David Gall<br />
Fernando Hernandez<br />
Zhifan Hu<br />
Sheng Kuan Chung<br />
Sunil Manghani<br />
Susan S<strong>in</strong>k<strong>in</strong>son<br />
Teresa Tipton<br />
Judit Vidiella<br />
Shei-chau Wang<br />
visual culture education<br />
John Steers<br />
visual design<br />
Kaye Shumack<br />
visual education<br />
Kathryn Grushka<br />
visual experience<br />
Åsa Andersson<br />
visual grammar<br />
Mara Martnez Lirola<br />
visual grammars<br />
Kaye Shumack<br />
visual <strong>in</strong>telligence<br />
Anne Rob<strong>in</strong>son<br />
Nigel Whiteley<br />
visual language<br />
Neil Cohn<br />
David McConville<br />
visual language/foreign<br />
language<br />
Mirjana Tomasevic Dancevic<br />
visual literacy<br />
Kathy Mackey<br />
Ricardo Reis<br />
visual media<br />
Antonia Clews<br />
visual methodology<br />
Andrea Thoma<br />
visual model<strong>in</strong>g<br />
James Edward Clayson<br />
visual music<br />
Michael Betancourt<br />
visual narrative<br />
Vasiliki Labitsi<br />
visual poetry<br />
Johanna Drucker<br />
Eduardo Kac<br />
visual representation<br />
Rob<strong>in</strong> M. Chandler<br />
visual representations<br />
Nicky Ryan<br />
visual reproduc<strong>in</strong>g<br />
Sue Bailey<br />
L<strong>in</strong>da Drew<br />
Alison Shreeve<br />
visual <strong>research</strong><br />
Rodrigo Velasco<br />
visual storytell<strong>in</strong>g<br />
Anne Lord<br />
visual studies<br />
Darren Newbury<br />
visual system<br />
Stuart Medley<br />
visual th<strong>in</strong>k<strong>in</strong>g<br />
James Edward Clayson<br />
Marlene Ivey<br />
Kathryn Moore<br />
Louise Valent<strong>in</strong>e<br />
visual turn<br />
Alexander Sekatskiy<br />
visualization<br />
Yang Liu<br />
Lilly (Li-Fen) Lu<br />
Andrea Polli<br />
visualiz<strong>in</strong>g the <strong>in</strong>visible<br />
Paul Woodrow<br />
vitreous enamel<br />
Jessica Turrell<br />
vocational education<br />
Christ<strong>in</strong>e Geraghty<br />
vocational qualifications<br />
Simon Roodhouse<br />
vocationalism<br />
Andrew Dubber<br />
Jane Tynan<br />
voice<br />
Debbie Green<br />
Claire MacDonald<br />
Beverly Redman<br />
volumetric computation<br />
Alexander Pasko<br />
Turlif Vilbrandt<br />
Carl Vilbrandt
vortex mechanics<br />
Zachary Jones<br />
VR<br />
Joseph Nechvatal<br />
Wabi-Sabi<br />
Jo Pond<br />
Wales<br />
Graeme Harper<br />
Walter Rodney<br />
Paul Buhle<br />
wander<strong>in</strong>g<br />
Emma Cocker<br />
war<br />
Georgia Kakourou Chroni<br />
Watchmen<br />
Michel De Dobbeleer<br />
water<br />
Zachary Jones<br />
ways of see<strong>in</strong>g<br />
Patricia Macdonald<br />
wearable technology and<br />
prostheses<br />
Valerie Ann Bugmann Téllez<br />
wearables<br />
Laura Beloff<br />
Web 2<br />
René Berger<br />
Web 2.0<br />
Chris Speed<br />
web art<br />
Claudia Sandoval<br />
web design<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
web-based artefacts<br />
Alice Fox<br />
Phil Legard<br />
Nigel Morgan<br />
Matthew Rob<strong>in</strong>son<br />
webs<br />
Cláudia Mart<strong>in</strong> Nascimento<br />
well-be<strong>in</strong>g<br />
Hilary Bungay<br />
Gunter Kreutz<br />
Ela<strong>in</strong>e Lally<br />
Don Stewart<br />
L<strong>in</strong>da J. Thomson<br />
well-be<strong>in</strong>g measures<br />
Usha Menon<br />
Welsh culture<br />
Graeme Harper<br />
West Midlands<br />
David Harte<br />
western region of Ireland<br />
Paul<strong>in</strong>e White<br />
<strong>who</strong>le-person<br />
Ren-Lai Hwang<br />
WHOQOL-BREF<br />
Gunter Kreutz<br />
wicked problems<br />
Tilmann L<strong>in</strong>dberg<br />
Christoph Me<strong>in</strong>el<br />
Christ<strong>in</strong>e Noweski<br />
widen<strong>in</strong>g participation<br />
Terry F<strong>in</strong>nigan<br />
Jane Tynan<br />
William Hogarth<br />
Roberto Bartual<br />
wireless wearable technology<br />
Laura Beloff<br />
witness<strong>in</strong>g<br />
Lily Markiewicz<br />
women<br />
Teena Clerke<br />
Tahneer Oksman<br />
Seija Ulkuniemi<br />
women <strong>in</strong> prison<br />
Aylwyn Walsh<br />
womens lives<br />
Cynthia M. Morawski<br />
women's studies<br />
Julia Jansen<br />
word and image<br />
Chris Murray<br />
work<br />
Laura Hurd Clarke<br />
work-based learn<strong>in</strong>g<br />
Marie Jefsiout<strong>in</strong>e<br />
Bob Jerrard<br />
workforce development<br />
Simon Roodhouse<br />
Work<strong>in</strong>g Peoples Alliance<br />
Paul Buhle<br />
workshops<br />
Kazuji Mogi<br />
Miho Shimohara<br />
World War II<br />
Bex Lewis<br />
World Wide Web<br />
Mark A. Bedau
world-view<br />
Patricia Macdonald<br />
wow factors<br />
Janey Gordon<br />
writer<br />
Rebecca Coates<br />
Ryan Patrick<br />
Mick Wilson<br />
Joonsung Yoon<br />
writerly self<br />
Kate Evans<br />
writ<strong>in</strong>g<br />
Chris Byrne<br />
Claire H<strong>in</strong>d<br />
Alison James<br />
Yve Lomax<br />
Tony O'Connor<br />
Paul O'Neill<br />
Duncan White<br />
John Wood<br />
writ<strong>in</strong>g <strong>in</strong> creative practice<br />
Stanislav Roudavski<br />
Writ<strong>in</strong>g PAD<br />
Margo Blythman<br />
Joan Mull<strong>in</strong><br />
Susan Orr<br />
writ<strong>in</strong>g process<br />
Fiona Graham<br />
written assessment<br />
Margo Blythman<br />
Joan Mull<strong>in</strong><br />
Susan Orr<br />
young children<br />
Kather<strong>in</strong>a Danko-McGhee<br />
Virg<strong>in</strong>ia Lowe<br />
Jhong Sook Oh<br />
Mart<strong>in</strong>a Paatela-Niem<strong>in</strong>en<br />
Kathy R<strong>in</strong>g<br />
young female offenders<br />
Madele<strong>in</strong>e Brens<br />
young people<br />
Jane Coad<br />
Emil Gaul<br />
youth<br />
Hod Orkibi<br />
youths<br />
Marco Pellitteri<br />
Yucatan<br />
David Wood<br />
Zen<br />
Robert Pepperell<br />
z<strong>in</strong>e<br />
Laurence Figgis<br />
Stuart Murray<br />
Alex Pollard<br />
zombie<br />
Brian Reff<strong>in</strong> Smith<br />
Zulu<br />
Griselda Pollock