who's who in research visuAl Arts - Intellect

Jim Drobnick
Keywords
Johanna Drucker
Keywords visual poetry, book art,
philosophy, photography
Andrew Dubber
Birmingham City University,
Birmingham Centre for Media and
Cultural Research, Birmingham City
University, City North Campus, Perry
Barr B42 2SU, Birmingham, West
Midlands, UK
Keywords radio teaching, critical
listening skills, vocationalism, student
broadcasting, New Zealand, Internet,
digital culture, music industry
Piotr Dumala
Poland
Keywords animation, film, The
Forest, Crime and Punishment
› EDITORIAL, Journal of Curatorial Studies, 1.1, 3-4.
Johanna Drucker is Breslauer Professor of Bibliographical Studies at
UCLA. She has published extensively on the history of written forms,
typography, design, contemporary art and visual poetics. Her most
recent titles include Sweet Dreams: Contemporary Art and Complicity
(University of Chicago Press, 2005), Graphic Design History: A
Critical Guide (with Emily McVarish, Pearson, 2009) and
SpecLab:Digital Aesthetics and Speculative Computing (University of
Chicago Press, 2009). In addition to her scholarly work, Drucker is
internationally known as a book artist and experimental, visual poet.
› Temporal photography, Philosophy of Photography, 1.1, 22-28.
Andrew Dubber is Reader in Music Industries Innovation at
Birmingham City University. He is a member of the Birmingham
Centre for Media and Cultural Research and is part of a HERA
European Jazz research project called Rhythm Changes. Dubber's
research interests include digital media cultures, online music
enterprise, cultural learning, radio in the digital age, music as a tool for
social change and music as culture.
› Monkey on the Roof: Researching creative practice, music consumption,
social change and the online environment, Creative Industries Journal, 4.1,
19-31.
Piotr Dumala is a Polish film director, writer, and animator. His most
well-known films are The Forest and Crime and Punishment, which
was included in the Acme Filmworks Animation Show of Shows. He is
known to implement a technique known as 'destructive animation', in
which the creation of one frame requires the erasure of another. His
article for Animation discusses how live-action directors, in particular
Ingmar Bergman, influence his work.