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who's who in research visuAl Arts - Intellect

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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,

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