wirad Wales Institute for Research in Art & Design

researchdirectory2010

contentswelcometothewiradresearchmarketplace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3wiradprogramme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3speaker’sbiographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

keynotespeaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4discussionpanelmembers-‘thevalueofresearch’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

universityofwales,newport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5schoolofart,mediaanddesign

researchgroups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6theeuropeancentreforphotographicresearch(ecpr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6theperformance&screenmediaresearchgroup(psmrg) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6synergycomputergamesdesignresearchgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6smartclothesandwearabletechnologyresearchcentre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6thedocumentarypracticeresearchgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

researchactivestaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

universityofwalesinstitute,cardiff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9researchatcardiffschoolofart&design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

centreforfineartresearch(cfar) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10sensorydesign:reactivecolours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10digit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10centreforresearchinceramics(crc) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11meat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

researchactivestaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11researchatpdr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

thenationalcentreforproductdesignresearch(pdr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13researchactivestaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

nationallibraryofwales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14researchmission&projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

aberystwythuniversity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16schoolofart

researchgroups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17schoolofartmuseum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17centreforstudiesinthevisualcultureofreligion(csvcr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17ceramiccollection&archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

researchactivestaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

swanseametropolitanuniversity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19dynevorcentreforarts,designandmedia

researchgroups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20centreforlens-arts&scienceinteraction(clasi) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20science,art&technologynetwork(satnet) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Creativeindustriesresearch&innovationcentre(ciric) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20appliedartsresearchgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21lensbasedresearch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21landscaperesearchgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21drawingresearchgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21fineartresearchgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

researchactivestaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

nationalmuseumwales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23researchthemes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

researchactivestaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24curatorialresearchinterests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

universityofglamorgan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26divisionofvisualart

researchcentres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27centreforthestudyofmedia&cultureinsmallnations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27VisualArtsResearchUnit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

researchactivestaff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

glyndwruniversity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29researchgroups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

researchcentreforart&design(rcad) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29centreforpedagogicalresearch(cpr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

existingwiradresearch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30creativepedagogies

researchpartners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

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welcometothewiradresearchmarketplace

croesoifarchnadymchwilwirad

What this gathering across the potential WIRAD partner institutions demonstrates, is the impressive breadth, range and quality of Art and Design scholarship in Wales. It had always been the ambition to widen the original membership of WIRAD to create a truly pan-Wales body with improved links between institutions such as National Libraries, National Museums and the academic community.

It is through real collaboration and joint project work that WIRAD will create critical mass, strategic partnerships, capacity and coherence from the many locations of art & design research excellence across the country. This can only give weight to a central informing idea that collaboration on this scale will produce an entity that is greater than the sum of its parts, and allow us all to find a greater national context for our work.

There is obvious potential here for Art and Design education in Welsh Universities and Colleges to provide an economic and cultural resource for

Wales, and for individual members within WIRAD to represent a resource for each other as we pursue work of world-leading and international quality. The following pages not only reflect the diversity and range of research activity across Wales but, it also suggests exciting institutional partnerships and inter-disciplinary opportunities.

We are extremely grateful to Sir Christopher Frayling and the members of the discussion panel for generously sharing their time, knowledge and experience. We hope that this event will move WIRAD closer to realising its full potential as an active national and global research network, and in doing so further our ambitions for advancing scholarship, pedagogy, and their social and cultural impact.

Derek Lawther, Dean of School of Art, Media & Design, University of Wales, Newport

Mae’r cynhaeaf yma o ffrwyth y sefydliadau sy’n ddarpar-bartneriaid yn WIRAD yn arddangos hyd a lled, cwmpas ac ansawdd ysgolheictod Celf a Dylunio Cymru. Yr uchelgais erioed fu ehangu aelodaeth wreiddiol WIRAD i greu corff gwirioneddol genedlaethol gan wella’r cysylltiadau rhwng sefydliadau fel y Llyfrgell Genedlaethol, yr Amgueddfeydd Cenedlaethol a’r gymuned academaidd.

Trwy gydweithio gwirioneddol a gwaith project ar y cyd y bydd WIRAD yn creu màs critigol, partneriaethau strategol, gallu a chydlyniad rhwng y gwahanol ganolfannau rhagoriaeth mewn ymchwil celf a dylunio ar hyd a lled y wlad. Ni all hynny ond cryfhau’r syniad ffurfeiddiol canolog sef y bydd cydweithio ar y raddfa hon yn creu endid a fydd yn fwy na chyfanswm ei gydrannau, a’n galluogi i gyd i ddarganfod cyd-destun cenedlaethol mwy ar gyfer ein gwaith.

Mae posibiliadau amlwg yma y gall addysg Gelf a Dylunio ym mhrifysgolion a cholegau Cymru ddarparu adnodd economaidd a diwylliannol ar

gyfer Cymru, ac y gall aelodau unigol o fewn WIRAD fod yn adnoddau i’w gilydd wrth i ni fwrw ati gyda gwaith o safon ryngwladol a byd-arweiniol. Mae’r tudalennau a ganlyn nid yn unig yn adlewyrchu amrywiaeth a chwmpas y gweithgaredd ymchwil a geir ledled Cymru, ond y maent hefyd yn awgrymu partneriaethau cyffrous rhwng sefydliadau a chyfleoedd rhyngddisgyblaethol.

Yr ydym yn eithriadol o ddiolchgar i Syr Christopher Frayling ac aelodau’r panel trafod am roi mor hael o’u hamser, eu gwybodaeth a’u profiad. Gobeithiwn y bydd y digwyddiad hwn yn symud WIRAD yn nes at wireddu ei holl bosibiliadau, a thrwy hynny, yn cyflawni ein huchelgais o ran hyrwyddo ysgolheictod, addysgeg, a’u heffaith cymdeithasol a diwylliannol.

Derek Lawther, Deon yr Ysgol Gelf, Cyfryngau a Dylunio, Prifysgol Cymru, Casnewydd

drwmlecturetheatre,nationallibraryofwales

10.00 - 10.45 Registration/Tea&coffeeinDrwmTheatreFoyer

11.00 Welcome–AndrewGreen(Librarian,NationalLibraryofWales)

11.05 - 11.15 Introduction–WIRADBoard

11.15 - 12.00 KeynoteSpeaker–SirChristopherFrayling–Researchinand throughtheCreativeArts:What’stheproblem?

12.00 - 12.10 Shortbreak

12.15 - 1.00 Paneldiscussion/Q&A–TheImportanceofResearch&The PossibilitiesofWIRAD

1.00 - 2.30 Lunch

2.30 - 5.30 WIRADResearchMarketplaceevent–DrwmTheatreFoyer

5.45 - 6.45 DrinksReception

wiradprogramme2ndmarch2010

3WelcometotheWIRADResearchMarketplace

speaker’sbiographies

keynotespeakersirchristopherfraylingSir Christopher Frayling is Rector of the Royal College of Art, the only wholly postgraduate university of art and design in the world, and also Professor of Cultural History there. In addition, he was until recently Chairman of Arts Council England, the largest funding body for the arts in the UK, he is the longest-serving Trustee of the V&A, and Chairman of the Royal Mint Advisory Committee, which selects the designs for new coins. He has in the recent past been Chairman of the Design Council, Chairman of the Crafts Study Centre and a Governor of the British Film Institute.

panelmemberspeterflorencePeter Florence is the Director of the Hay Festivals group, which runs festivals in Colombia, Spain, Lebanon, The Maldives, Kenya, Kerala, Ireland and Wales. He was edu-cated at Cambridge and The Sorbonne. Peter has an Hon-orary DLitt from the University of Glamorgan, is a Fellow of Hereford College of Art and Creative Fellow at the Uni-versity of Wales Bangor.

andrewgreenAndrew Green has been Librarian of the National Library of Wales (http://www.llgc.org.uk) at Aberystwyth since October 1998. The National Library is a legal deposit library and is the de facto central archive repository for Wales. It also holds important collections of manuscripts, maps, pictures and photographs, and houses the National Screen and Sound Archive of Wales.

Up to 1998 his entire career was spent in British uni-versities and their libraries: University College of Wales Aberystwyth (1973-74), University College Cardiff (1975-89), University of Sheffield (1989-92), University of Wales Swansea (1992-98) - the last as Director of Library and Information Services, responsible for IT services and networking. Andrew is an officer or member of numerous bodies in the area of library and information work. He was instrumental in establishing ‘Gathering the Jewels’ a pio-neering, all-Wales cultural digitisation project, and its suc-cessor body, Culturenet Cymru.

As Librarian, Green has ensured his connections with higher education remain strong. He is a member of the Council of the University of Wales Aberystwyth, of the Courts of several universities in Wales, and holds Honorary Fellowships in the University of Wales Swansea, Glyndŵr University and the University of Wales Lampeter. He chaired a Steering Group of the Higher Education Funding Council for Wales responsible for developing a Wales-wide strategy on Welsh medium higher education.

yvettevaughanjonesYvette Vaughan Jones is Director of International Visit-ing Arts. Yvette took up post as Director in October 2005. She was previously Director of the Cultural programme for Cardiff 2005. She has a long career in the arts working

for the Arts Council of Wales where she set up Wales Arts International, a ground breaking initiative carried out in partnership with the British Council.

Yvette spent 3 years working in Brussels as the Policy Manager for the Wales European Centre and played an active role in cultural policy debates within the EU before returning to Cardiff to write the City’s bid for European Capital of Culture 2008. She was Director of the Cardiff 2005 cultural programme focusing on community devel-opment through the arts. She is an active member of the UK Cultural Cities Network that links those cities that received Urban Cultural Programme funding to work with arts and regeneration. Yvette is also the Lead Adviser for the North East Cultural Leadership Programme and the UK representative on the EU working group on Cultural Mobility.

She has published widely on arts and culture. Most recently in the Cultural Leadership Programme journal and is a frequent speaker at international arts and cultural events. Yvette was a speaker at the World Summit on Arts and Culture, Johannesburg in September 2009.

emmaposeyEmma Posey is founding Director of bloc, an organisation based in Wales supporting the creative engagement with new technology. She has lectured and written widely on creativity and technology as well as focusing on the effects of technology on ‘place’ in her own art practice. Her past lecturing experience includes Course Leader of the Cre-ative Technology Masters at University of Salford and visiting lecturer at University of Wales Institute Cardiff (UWIC) and University Wales Newport (UWN). She has edited various visual arts publications and acted as consul-tant on external research projects.

jennispencer-daviesJenni Spencer-Davies is Curator of the Glynn Vivian Art Gallery, Swansea, Wales. Since her appointment in 1999 she has initiated plans for the future renewal of the Gallery; alongside the development of the Collection, she has also organised many exhibitions, working with a wide variety of artists including Mark Wallinger, Bill Woodrow, Richard Deacon, David Nash, and Terry Setch. From 1989-1998,

Spencer-Davies was Head of Gallery at Oriel, the Arts Council of Wales Gallery, Cardiff, where she worked collab-oratively with Chapter and Ffotogallery to raise the profile of Wales based artists. Exhibitions included Kazuo Katase, Kathy Prendergast, Bill Viola, Iwan Bala, Reiko Aoyagi, David Garner, Shani Rhys James, Louise Bourgeois, Susan Hiller and Siobhan Hapaska.

During the 80s Jenni Spencer-Davies worked as Exhibi-tion Organiser for The Douglas Hyde Gallery, Dublin. She also lectured at the National College of Art and Design, Dublin and was Director for the post-graduate course in Arts Administration at University College, Dublin.

louisewrightLouise joined the British Council in 1997 and was appointed to her current position based in Wales in October 2008. She has managed an international programme of touring exhibitions and projects across visual arts, media arts, design and applied craft. Working in partnership with institutions such as Tate, British Library and Crafts Council on projects including History in the Making: A Retrospective of the Turner Prize held at the Mori Art Museum, Tokyo, 2008; Magic Pencil, curated by Quentin Blake launched in the UK in 2002 and presented in over 55 countries, and the innovative Fabric of Fashion shown in Northern Europe and Russia. As Arts Manager in Turkey in 2007 Louise developed and delivered a colloquium and creative educa-tion programme in partnership with the BBC Symphony Orchestra and made a successful bid for EU funding for the Cultural Bridges creative programme. Louise currently leads the British Council’s Arts and Creative Economy programme for Wales to develop international opportuni-ties, working closely with Welsh Assembly Government, National Assembly for Wales, Arts Council Wales, Wales Arts International and other agencies in Wales. She is cur-rently advising on a British Council product focusing on Research and Innovation.

Louise has an MA in Fine Art from Chelsea College of Art and Design, London.

Christopher is well-known as an historian, critic and an award-winning broadcaster, with his work appearing regu-larly on network radio and television. He has published seventeen books and numerous articles on contemporary art, design, film and the history of ideas. Christopher has been, for as long as he can remember, a passionate cam-paigner for the importance of the creative industries, and of public investment in the arts.

4 Speaker’sBiographies

University of Wales, NewportSchool of Art, Media and DesignThe School of Art, Media and Design has a long history of research success, and is a founding partner of the Wales Institute for Research in Art and Design (WIRAD). The School can trace its roots back to the formation of the Newport Mechanics Institute in 1841. As Newport College of Art, it was one of the first art colleges in the UK to offer honours degrees in Fine Art and Graphic Design. Since that time, and as a major School within the University of Wales, Newport, it has built a reputation for innovative creative practice and excellence in research, extending an international reputation for photography research and practice into research across art and design.

Home to more than twenty PhD students and two Leverhulme post-doctoral researchers, AMD research is central to the school’s identity. It provides the raw material and context for our taught programmes at both undergraduate and postgraduate levels. It also has an important economic function, and the intellectual capital created by our research and scholarship underpins Third Mission activities, which actively contribute to the economic regeneration of Wales.

We therefore aim to sustain and develop further a vibrant and significant research practice, drawing on and contributing to the creative possibilities offered by contemporary technological culture. Our research ethos is grounded in the practice and discourse of the field as realised, reasoned, critiqued and theorised by current high-level practitioners operating at the highest national and international levels.

Mae gan yr Ysgol Gelf, y Cyfryngau a Dylunio hanes maith o lwyddiant mewn gwaith ymchwil, ac mae’n un o sylfaenwyr Sefydliad Cymru ar gyfer Ymchwil mewn Celf a Dylunio (WIRAD). Gall yr Ysgol olrhain ei gwreiddiau yn ôl at sefydlu Athrofa Peirianwyr Casnewydd ym 1841. Fel Coleg Celf Casnewydd, ef oedd un o’r colegau celf cyntaf yn y DU i gynnig gradd anrhydedd mewn Celfyddyd Gain a Dylunio Graffig. Ers hynny, ac fel Ysgol o sylwedd o fewn Prifysgol Cymru, Casnewydd, mae wedi adeiladu enw am arfer creadigol arloesol a rhagoriaeth mewn ymchwil, gan ehangu ei bri rhyngwladol am ymchwil ym maes ffotograffiaeth i gynnwys ymchwil mewn celf a dylunio.

Mae’r Ysgol yn gartref i fwy nag ugain o fyfyrwyr PhD a dau ymchwilydd ôl-ddoethurol Leverhulme ac mae ymchwil celf a dylunio yn ganolog i’w hunaniaeth. Mae’n darparu’r defnyddiau crai a’r cyd-destun ar gyfer ein rhaglenni addysgu ar lefelau is-raddedig ac ôl-raddedig. Mae ganddi swyddogaeth economaidd bwysig hefyd, ac mae’r cyfalaf deallusol a greir gan ein hymchwil a’n hysgolheictod yn sail i weithgareddau Trydedd Cenhadaeth sydd yn cyfrannu’n weithredol at adfywiad economaidd Cymru.

Ein nod felly yw cynnal a datblygu ymhellach arfer ymchwil egnïol a phwysig, a fydd yn elwa ar ac yn cyfrannu at y posibiliadau creadigol a gynigir gan ddiwylliant technolegol cyfoes. Mae ethos ein gwaith ymchwil wedi ei wreiddio yn arfer a disgwrs y maes, sy’n cael ei wireddu, ei ymresymu, ei ddadansoddi’n feirniadol a’i ddamcaniaethu gan ymarferwyr cyfoes dawnus sy’n gweithredu ar y lefelau cenedlaethol a rhyngwladol uchaf.

5UniversityofWales,Newport

researchgroups

theperformance&screenmediaresearchgroup(psmrg)The Performance and Screen Media Research Group (PSMRG) is a truly interdisciplinary group, with its mem-bership drawn from the full range of academic and practice backgrounds in the School of Art, Media and Design. The group includes the theoretical areas of film studies, media studies, theatre studies, animation studies and cultural studies, and theatre practice, film practice and animation practice. Key interests include performance in all forms of screen media (both more traditional and interactive), screen media consumption practices, remediation and adaptation across media, the limits and possibilities of narrative across screen media, formal experiment and the avant-garde, as well as the production of theoretically informed innovative short film, digital artefacts and animation.

PSMRG goes far beyond traditional disciplinary research to also engage in the study of, and production of, those screen artefacts that can be considered mar-

ginal to any focus on live action cinema. This includes a concern with popular culture and screen media, and with far more experimental work. We are seeking to exploit the new knowledge and insight that can result from working across disciplines and traditions, and harness the creative potential of engaging in a dialogue with colleagues with a different critical apparatus and practice toolset. PSMRG is also the home to smaller research groupings in the areas of digital games and documentary filmmaking.

potentialresearchprojects:PSMRG is keen to develop projects through its subsidiary re-search groups and across screen media generally that investigate questions of practice, culture and consumption, and provide concrete examples of the interchange between theory and practice.

contact: Dr Barry Atkins barry.atkins@newport.ac.uk

theeuropeancentreforphotographicresearch(ecpr)The European Centre for Photographic Research (eCPR) was established in 2000, and assumed its current title in 2008. With a substantial network of European links, eCPR supports work that engages with the cultural histories of photography and a range of contemporary debates. Col-laborative research is a vital part of the Centre’s work and we have institutional partners in France, Belgium, Portugal, Greece, Holland, Italy and the Czech Republic, as well as a number of organisations across the UK.

Under the unifying theme Photography at The Borders, eCPR fosters lively and experimental engagements with photography as an expanding field of inter-disciplinary research. Photography at the Borders acknowledges the perceived boundaries of the photograph and contests them through a range of research projects. Encompassing art, documentary and fashion photography, curating and criticism, eCPR’s diverse range of interests and expertise uniquely positions the Centre to address photography’s multiple and shifting forms.

eCPR’s activity involves conferences, symposia, research seminars, publications, exhibitions and curating.

potentialresearchprojects:Curatorial practice as research; the cultural diversity of 1. photography in Wales; museums & libraries without walls; contemporary art, the archive and historical consciousness Contact: russell.roberts@newport.ac.ukDisruptive and antagonistic art practices; consumer cul-2. ture; video art Contact: mark.durden@newport.ac.ukDialogues between myth and technology, nature and cul-3. ture, in relation to landscape and the feminine Contact: helen.sear@newport.ac.uk

contact: Professor Mark Durden, mark.durden@newport.ac.uk

synergycomputergamesdesignresearchgroupSynergy Computer Games Design Research Group engages in practice-based and theoretical research into the creative aspects of computer game form and related interactive moving image media. It draws on the established prac-tice and experience of internationally recognized games designers, producers and theorists to explore, and exploit, the intersection between games and our understanding of other artforms.

Synergy seeks to explore (through play), critique (through theory) and expand (through practice) the nature of the gaming experience. The purpose of our project-led activity is to extend the reach of game form to a wider audi-

ence. Our goal is to initiate and conduct novel and innova-tive research that explores and shares new visions of games and game play.

potentialresearchprojects:Novel control methodologies for digital game play.1. The exploration of procedural animation and associated 2. control methods.Experimental game forms, and the relationship between art 3. and gallery games practice and the commercial industry.

contact: Dr Barry Atkins barry.atkins@newport.ac.uk

thedocumentarypracticeresearchgroupThe Documentary Practice Research Group is located within International Film School Wales. The members of the group are engaged in a variety of audio-visual practice-based and text-based research activities in documentary practice; using a diverse range of documentary modes of inquiring various aspects of Social, Economic, Political and Cultural life in a variety of geographical spaces and con-texts – locally, nationally and internationally.

potentialresearchprojects:Members are keen to pursue research in the following areas: city-scapes; new visions of women; community, memory & Identity; religion and children; first person narratives, oral storytelling; avant-garde documentary, political documentary; women’s his-tory in motion, animated documentary.

contact: Florence Ayisi florence.ayisi@newport.ac.uk

smartclothesandwearabletechnologyresearchcentreInformed by advances in the application of technical tex-tiles, micro-technologies and new manufacturing tech-niques, this multi-disciplinary team is developing a shared language through collaboration in the research and devel-opment of innovative smart clothing that addresses end-user needs from technical, aesthetic and cultural view points. The Centre, led by Jane McCann, has also been successful in attracting major research funding for a three year project under the UK’s joint research council’s New Dynamics of Ageing Programme, Design for Ageing Well: Improving the Quality of Life for the Ageing Population

contact: Jane McCann jane.mccann@newport.ac.uk

Helen Sear, from the series Spot 3,

Lambda print, 2003

Florence Ayisi, Sisters in Law, 2010

Using a Technology Enabled Garment System. The team at Newport is collaborating with Co-Investigators from the University of Westminster, the University of Salford, the University of Ulster and the University of Brighton. This team, and project consultants, will be supported by an Advisory Group made up of industrial partners and trade networks.

potentialresearchprojects:The development of a new inter-disciplinary shared lan-1. guage for researchers across the area of smart clothes and wearable technology.Within realistic commercial constraints, the design of smart 2. clothing that leads to products that work, look attractive and are highly usable.The role of wearable technology and how it can be 3. deployed to create near market prototypes, examining motivations and commercial possibilities, in areas such as sport and fitness, corporate wear and inclusive design.

6 UniversityofWales,Newport//ResearchGroups

drbarryatkins, Associate Dean, Research and Enterprise. His research interests focus on games aesthetics and questions of textual pleasure, and has published a number of articles on games narrative and aesthetics. He founded the Performance and Screen Media Research Group. barry.atkins@newport.ac.uk

GeraintCunnick, Head of Department – Fine Art & Photog-raphy. In the last 15 years his practice has shifted from fine art to commercial concerns with a continued interest in constructed narrative and tableaux. His work has been exhibited at the Saatchi Gallery and The Photographers’ Gallery, London. Current research is concerned with the dissemination of contemporary photographic and art practice through the medium of Welsh.

professormarkdurden, Head of eCPR. Mark has an estab-lished reputation as a writer on photography and has published over a hundred reviews and essays. Mark is also an artist. Since 1996, as part of the artists’ group Common Culture he has exhib-ited regularly both nationally and internationally. mark.durden@newport.ac.uk

florenceayisi is Reader in Film Practice at the International Film School Wales. She has interests in both theory and practice aspects of film, and is an award winning film maker. Her research interests include Representations of Africa in the media, African Cinema Audiences, African Women and Cinema and the role of Digital Video in Community Development. She co-founded the Documentary Practice Research Group. florence.ayisi@newport.ac.uk russellroberts is Reader in Photography within the Euro-pean Centre for Photographic Research. He is a curator and writer on art and photography with a profile of work with national and international museums and galleries. Interests include the representation of history; artists and archives; collecting prac-tices; curatorial strategies; the cultural diversity of photography. russell.roberts@newport.ac.uk

dr helen sear, Reader in Photography and Fine Art Prac-tice. Working with predominantly lens-based media, installation, and photography, her research into relationships between, vision, touch and surface, combines hybrid processes that disrupt con-

ventional photographic perspective. As a practicing artist she is concerned with the relationships between mythology and tech-nology, nature and culture, and an ongoing re-examination of landscape in relation to the feminine. helen.sear@newport.ac.uk

dr andy smith, Academic Leader, Performance. Smith has published internationally in various book chapters, essays and journal articles in theatre criticism and theory and is currently co-running a three-year funded research project exploring the peda-gogy of Screen Acting and Directing. andy.smith@newport.ac.uk drianwalker, Reader in the History of Photography. In the past few years, Walker’s academic research has mainly focused on the relationship between Documentary Photography and Surre-alism. ian.walker@newport.ac.uk peterbobby, Senior Lecturer, Photographic Art. Bobby has exhibited at a number of galleries both in the UK and Europe, including Ffotogallery in Cardiff who published his first mono-graph, ‘Reception’ in 2003. peter.bobby@newport.ac.uk

researchactivestaff

Left: Jo Longhurst, Work in Progress, 2010

Above: Ken Grant, Untitled, 2010Below: Mark Durden, still from video, Openings are always awkward, 2009

7UniversityofWales,Newport//ResearchActiveStaff

richard clegg, Course Leader for BA (Hons) Photography for Fashion & Advertising. Clegg’s current research explores visual associations between religion, aesthetics and photography to reflect on gender and race. richard.clegg@newport.ac.uk

ronnie close, Senior Lecturer, Photographic Art, has been developing a body of work since 2004 as part of a practice-led PhD research project that looks at the formation of historical nar-rative. His background is in both academic and the professional photographic fields and he has developed an integrated approach to theory and practice in contemporary photographic media. ronnie.close@newport.ac.uk

philip cowan, Senior Lecturer, Film and Video. Cowan has worked on over 80 productions, including; Drama, Documen-tary, Performance, and Animation projects, working for BBC, ITV, C4, S4C, and numerous independent companies. He is cur-rently undertaking a PhD on cinematography. philip.cowan@newport.ac.uk lei cox, Academic Leader, Fine Art and Foundation, is an installation artist, photographer and music composer who also works in broadcast media. lei.cox@newport.ac.uk

jasonevans, Senior Lecturer, Photography for Fashion and Advertising. Evans is a multi-disciplinary photographer whose tenuously interlinked work includes portraiture, curation, sculp-ture, record sleeves, street photography, web based projects and writing. His research interests include contemporary Japanese photo books and the lost opportunity of Fashion photography. Further information at www.jasonevans.info. jason.evans@newport.ac.uk

dr alexander graf, Senior Lecturer, Film and Video. Graf has published widely on European cinema, including a mono-graph on the German director Wim Wenders (Wallflower Press, London 2002) and writing on Lars von Trier’s 2003 Film DOGVILLE, as well as developing a theory of avant-garde film. His current research interests are avant-garde and experimental film and video, and audiovisual sound aesthetics. alexander.graf@newport.ac.uk

ken grant, Programme Leader, Documentary Photogra-phy. Grant’s work is held in major public and private collections, including those of the Museum of Modern Art, New York and the Portland Art Museum. He has worked on long term, over-lapping projects since the 1980s and is currently undertaking a project on the social landscape of Hereford. ken.grant@newport.ac.uk

dr coral houtman, Senior Lecturer, Film and Video, is a fiction filmmaker and theorist particularly interested in integrat-ing theory and practice in her research. Her current research areas are: narrative theory, gender, psychoanalysis, performance theory, film form and style together with scriptwriting and direct-ing. coral.houtman@newport.ac.uk richardhurford, Senior Lecturer, Computer Games Design. Hurford is currently studying for a PhD in design processes for convergent technologies, with specific focus on smart clothes and wearable technology product and service development. Identify-ing problems within the design process and suggesting potential remedies. His work has relevance out side of the smart clothes and wearable technology area, guiding advance product development between industry sectors, which have not traditionally worked together. richard.hurford1@newport.ac.uk

celia jackson, Programme Leader, MA/MFA Printmaking. Jackson’s practice explores the format of the artist’s and/or altered book. Celia Jackson’s current research project seeks to problema-tise the hegemony within our culture of the visual image, using the artist’s book as a paradigm, and to address issues around the ‘white cube’ gallery space by creating exhibitions for display in non-traditional venues, including, for example, the reference library and the internet. celia.jackson@newport.ac.uk

clive landen, Senior Lecturer, Documentary Photography. Landen’s research reflects an engagement with the animal world and our unique relationship to it. In pursuing his interest he has produced several bodies of work that attempts to address this fas-cination. clive.landen@newport.ac.uk

eileenlittle, Senior Lecturer, Photographic Art. Little’s prac-tice is concerned with Subjectivity, Narrative and History through image/text work that takes various final forms: installation, book-work and multi-media. eileen.little@newport.ac.uk jolonghurst is Leverhulme Fellow at the European Centre for Photographic Research. Her current long-term project, Perfect, is an interrogation of the process of training, exploring the physical and emotional experiences of elite gymnasts and coaches. I will develop my interest in perfection by tackling it from this new perspective. I also want to expand my photographic practice to incorporate the use of time-based media and appropri-ated images. jo.longhurst@newport.ac.uk

matthewlovett, Programme Leader for Creative Sound and Music. As a performer and composer, his interests include experi-mental, electronic, improvised, popular and traditional musical forms. His current research includes aesthetics, critical theory and political economy in relation to contemporary music prac-tice. matthew.lovett@newport.ac.uk

dr kieran lyons, Programme Leader, Fine Art, completed a PhD thesis that considered the implications of militarism in France and its influence on Marcel Duchamp, appearing first in his text ‘The Jura-Paris road’ and then resurfacing in his practice 1912 - 1915. This continued as a discernible preoccupation in his work until 1945, and Lyons continues to explore this area. kieran.lyons@newport.ac.uk

james manning, Senior Lecturer in Animation. Developing upon his extensive experience as a CG animated film-maker, his research focuses on developing the relationship between move-ment analysis techniques and animated character performance. james.manning@newport.ac.uk

adammartin, Programme Leader, Interactive Media. Martin is currently studying for a PhD in user interfaces and interaction design for mobile and wearable technologies and has co-authored papers published within the IEEE proceedings from the ‘Inter-national Symposium on Wearable Computers’. He is actively engaged with ongoing academic and commercial research within the art school and has recently developed a proof-of-concept location-based gaming platform. adam.martin@newport.ac.uk

jane mccann, Director of the Smart Clothes and Wearable Technology (SCWT) Research Group. McCann gained an international reputation as a leading authority on the subject of performance sportswear. Her focus has been on establishing an academic community that can break down barriers between design and science subject areas such as textiles, fashion, graphic and product design and those in the spheres of human biology, information technology, contextual studies and marketing. jane.mccann@newport.ac.uk

corrado morgana, Senior Lecturer, Computer Games Design. Morgana is a media artist, electronic musician and researcher. His research examines arts and videogames crossover practice, specifically transgressive and subversive production within existing game engines. corrado.morgana@newport.ac.uk

christophermorris, Head of the International Film School, Wales. Morris is an award winning documentary film maker who has won the Premios Ondas, RTS and BAFTA awards and prizes at the Celtic, Berlin and Chicago film festivals. His recent film (‘An American In Aberfan’, BBC Wales 2006), made in collabora-tion with the internationally recognised artist Shimon Attie is a film to mark the 40th anniversary of the Aberfan disaster. chris.morris1@newport.ac.uk

magali nougarède, Senior Lecturer, Photographic Art. Nougarède’s current research focuses on the study of “Fabric” as a cultural intermeshing between personal history, memory and psychoanalysis and on the role that photography and other visual arts play in conferring symbolic value. In an age where our rela-tionship to the world is increasingly virtual, and with consider-ation to the central role that digital photography plays in this, the tactility of textiles offers an interesting counterpoint. magali.nougarede@newport.ac.uk

carolineparsons, Programme Leader, MA Animation. Par-son’s research interests centre around the impact of new technol-ogy on film spectatorship and photorealistic digitally created or enhanced bodies, where the viewer is no longer able to differen-tiate between live action and cartoon, between what is real and what is not real. caroline.parsons@newport.ac.uk

alisepiebalga, Senior Lecturer in Fine Art. Piebalga’s research pivots around six closely related, but identifiable subject areas: new media art, the nature of human and the nature of technol-ogy, constructs of artificiality, ambiguity in perception and seeing humans and technology as osmotic, open and syncretic systems. alise.piebalga2@newport.ac.uk

paulreas, Senior Lecturer, Documentary Photography, has exhibited widely, both nationally and internationally, and his work has been included in many major survey exhibitions of British Photography. He has published two books, I Can Help‚ and Flog-ging A Dead Horse; he is currently working on a series of street photographs commissioned by Southwark Council and London College of Communication. paul.reas@newport.ac.uk andreas rüthi, Senior Lecturer, Fine Art. Rüthi’s still life paintings in oil form a developing series. Their references and associations show a wry humour, a dialogue with art history as with the nature of reproduction and repetition: but the logic of the procedure suggests a kinship with forms of abstraction, and with conceptual art in its classic concern with time. andreas.ruethi@newport.ac.uk

janesimon is Leverhulme Fellow at the European Centre for Photographic Research. She has a PhD in Gender and Cultural Studies from the the University of Sydney. Her research examines contemporary visual practice across the disciplinary boundaries of film and media studies, art history and cultural studies. Jane’s writing and art practice is compelled by domestic objects and architectural minutiae and she works with photography and book arts. Her articles have been published articles in Continuum, Cul-tural Studies Review and Media/Culture. jane.simon@newport.ac.uk

drkatystevens is a researcher in technical textiles and design. Her research interests include the uses of technical fabrics and innovative design in performance and technical clothing. katy.stevens@newport.ac.uk

rogerwooster, Senior Lecturer in Performing Arts. Woost-er’s research into the state of Theatre in Education in Wales formed the basis of his book, Contemporary Theatre in Education which was published in 2007 and is widely used in Applied Drama courses. Recent research interests include training methodologies for actors and the relationship between audience, celebrity and performance as expressed through gesture and fashion. roger.wooster@newport.ac.uk dr brigitta zics, Programme Leader, MA/MFA Design by Practice. Her main research interest research lies in investigations of human behaviour in technological amplified environments. It focuses on emerging technologies of interaction and their aes-thetics capacities through human cognition. She is developing technological implements and interfaces with the intention of creating agency for new experiences of the user of her work.brigitta.zics@newport.ac.uk

UniversityofWales,Newport//ResearchActiveStaff8 UniversityofWales,Newport//ResearchActiveStaff

University of Wales Institute, CardiffArt & design research at UWIC is focused in two areas: Cardiff School of Art & Design and the National Centre for Product Design & Development Research.Cardiff School of Art and Design (CSAD) was founded more than 140 years ago. A founder member of WIRAD, the School’s record of art and design research and scholarly activity is also long standing.

CSAD has an active and supportive research environment and significant expertise in the various ways in which art and design practice can contribute to knowledge. Particular areas of strength include Ceramics, Fine Art, Art Theory, Interaction Design, Inclusive Design, Textiles, Architecture and Creative Pedagogical Practice. The School’s approaches to research, enterprise and learning & teaching are mutually supporting, and staff are actively encouraged to ensure that each activity has significant cross over with each of the others. Our students at all levels are thereby well positioned to benefit from an enlightened and informed staff whose research and enterprise activities directly benefit them.

The School has a thriving and rapidly expanding research student community. We promote interdisciplinary research with other fields of practice or enquiry, for example Computer Science, Psychology and History and our research is largely contained within centres and clusters. These include: the Centre for Fine Art Research, the Centre for Ceramics Research, Creative Teaching and Teaching Creatively, Ecological Built Environment Research and Enterprise and the Digital Textiles research group, DIGIT.

Activity in the National Centre for Product Design & Development Research (PDR) focuses on the following areas of research: Interactive prototyping of computer embedded systems; Design policy; Design management, particularly in SMEs; User-centred design, Medical applications of product design technology. The Centre has an extensive contract research portfolio and has developed over 500 product for commercial companies and has won ten international design awards. PDR is one of the UK’s largest contributors to the Knowledge Transfer Partnership (KTP) scheme and has completed over 25 KTP programmes with a wide range of companies.

Mae ymchwil celf a dylunio yn APCC wedi’i ganoli mewn dau le: Ysgol Gelf aDylunio Caerdydd a Chanolfan Genedlaethol Ymchwil i Ddylunio a DatblyguCynhyrchion. Sefydlwyd Ysgol Gelf a Dylunio Caerdydd fwy na 140 oflynyddoedd yn ôl. Mae gan yr Ysgol, un o sylfaenwyr WIRAD, hanes maith oymchwil ac ysgolheictod ym maes celf a dylunio.

Mae ganddi amgylchedd ymchwil bywiog a chefnogol a chryn arbenigedd yn y gwahanol ffyrdd y gall arfer celf a dylunio gyfrannu at wybodaeth. Mae’r meysydd lle mae’n arbennig o gryf yn cynnwys Cerameg, Celfyddyd Gain, Theori Celfyddyd, Dylunio Rhyngweithiol, Dylunio Cynhwysol, Tecstilau, Pensaernïaeth ac Arfer Addysgol Creadigol. Mae dulliau’r Ysgol o fynd ati i ymchwilio, cynnal menter a dysgu ac addysgu yn gyd-gefnogol, ac anogir staff i sicrhau bod pob gweithgaredd yn gorgyffwrdd yn sylweddol â’r gweddill. Mae ein myfyrwyr ar bob lefel felly mewn safle da i elwa ar staff goleuedig a gwybodus y mae eu gweithgareddau ymchwil a menter o fudd uniongyrchol iddynt.

Mae gan yr Ysgol gymuned myfyrwyr ymchwil lewyrchus, sy’n prysur ehangu. Rydym yn hybu gwaith ymchwil rhyngddisgyblaethol gyda meysydd arfer neu ddysg eraill, er enghraifft, Cyfrifiadureg, Seicoleg, a Hanes, ac mae ein hymchwil yn digwydd yn bennaf o fewn canolfannau a chlystyrau, yn cynnwys y Ganolfan Ymchwil Celfyddyd Gain, y Canolfan Ymchwil Cerameg, Addysgu i Greu ac Addysgu’n Greadigol, Ymchwil a Menter Amgylchedd Adeiledig Ecolegol, a DIGIT, y grŵp ymchwil Tecstilau Digidol.

Mae gweithgaredd y Ganolfan Ymchwil Dylunio a Datblygu Cynhyrchion Genedlaethol (PDR) yn canolbwyntio ar y meysydd ymchwil canlynol: prototeipio rhyngweithiol systemau cyfrifiadurol dynodedig; polisi dylunio; rheoli dylunio, yn enwedig mewn cwmnïau SME; dylunio i’r defnyddiwr; defnyddiau meddygol technoleg dylunio cynhyrchion. Mae portffolio ymchwil dan gontract eang gan y Ganolfan ac mae wedi datblygu mwy na 500 o nwyddau ar gyfer cwmnïau masnachol ac wedi ennill 10 gwobr ddylunio ryngwladol. PDR yw un o gyfranwyr mwyaf y DU i’r cynllun Partneriaethau Trosglwyddo Gwybodaeth (KTP) ac mae wedi cwblhau mwy na 25 o raglenni KTP gydag ystod eang o gwmniau.

99UniversityofWalesInstitute,Cardiff

researchatcsad

digitaimsTo research the ways traditional methods of making in tex-tiles may interface with digital textile practices; to analyse the impact this has upon creativity and innovation; and to disseminate the findings widely to the field. objectives

To exhibit relevant research to launch CSAD Textile 1. Research Group.To foster and develop collaborations with other insti-2. tutes, nationally and internationally.To analytically review traditional textile design tech-3. niques.To investigate traditional and contemporary digital 4. techniques.Explore the boundaries of relevant digital technolo-5. gies, recording associated hand, machine and CAD/CAM experimentation.Produce collection of textile artwork for exhibition.6. To communicate and publish current and future 7. research developments.

centreforfineartresearch(cfar)Centre for Fine Art Research (CFAR) provides a coher-ent and ambitious programme around Fine Art research. It exists to encourage and support interdisciplinary, cross-School and inter-Institutional research initiatives in a sup-portive environment that encourages research activity at all levels. Groups and individuals within the centre have secured over £250K and the centre is home to four Readers and a Professor.

CFAR’s research interests include painting, sculpture, printmaking, time-based and performance, new media, art history and aesthetics.

contact: ccazeaux@uwic.ac.uk, http://csad.uwic.ac.uk/cfar/

researchthemes:‘Art practice as research?’: CFAR has addressed this ques-1. tion in a number of meetings and is in the process of devel-oping an exhibition and conference that has this question as its point of focus; collaborators in both aspects of the project are welcome and will be actively sought.‘The integration of art-science-philosophy’: to explore ways 2. in which these three traditionally distinct areas of human knowledge and activity can be successfully integrated, and how this might lead to the production of new knowledge.‘The Post-Industrial Shorelines of South Wales’: a series of 3. photographic essays that establish ways in which the coast of South Wales manifests a post-industrial and new leisure economy; this is at the pilot project stage, and is intended to draw in other researchers across the region.

sensorydesign:reactivecoloursSensory Design: Reactive Colours researchers explore the potential of technologies, from traditional everyday desktop interfaces to bespoke, custom-made prototypes using found objects, to foster inclusivity and playfulness among young people for all ages with and without devel-opmental delays. The research that underpins our work is drawn from interests and practical experience in anima-tion, phenomenology, human-computer interaction, wear-able technologies and interface aesthetics. The successful application of the theories and concepts that inform our research has evolved through an agile process of partici-patory design, implemented throughout the design and development lifecycle.

Inspiration for our work has been drawn from the oppor-tunity to collaborate directly with children and those who support them, through partnerships with Autism Cymru, the Dyscovery Centre and Ysgolian Muddian Meithrin. The findings from our work have been presented and pub-lished internationally. The most successful outcome to date has been ReacTickles, a software application aimed at chil-dren on the autism spectrum.

potentialprojects/themes:Research, recreation and rehabilitation: We are inter-1. ested in applied research that uncovers new thinking on the playful, phenomenological and kinesthetic pos-sibilities for interaction design; our goal is to empower end users to enact and express themselves without fear or judgment.Ethical participatory design: We are concerned with 2. the evolution of imaginative and ethical relationships between designer and user throughout a project life-cycle, including the design of techniques for transfer-ring findings of user studies to other designers and team members (communication) and opportunities to discover novel and practical models for translating design ideas into a form that can encourage further user participation (ideation)

contact: kcanavan@uwic.ac.uk

contact: wkbright@uwic.ac.uk

Saturday C Landscape

10 UniversityofWalesInstitute,Cardiff//ResearchatCSAD

centreforfineartresearch(cfar)

drclivecazeaux My research lies in three areas: metaphor in aesthetics and the theory of knowledge; the relation between art and knowledge, and between art and science; ecological aesthet-ics and listening as responses to dualistic subject–object thought.ccazeaux@uwic.ac.uk 029 2041 6680

dr jonathan clarkson Clarkson’s research interests include John Constable, the history of landscape painting, psychoanalysis and theories of representation. jclarkson@uwic.ac.uk 029 2041 6664

davidferry Research: British Modernism/ Jo Orton/ and pho-tomontage. dferry@uwic.ac.uk / daviddferry@hotmail.com 029 2041 6686 / 07876407266

stewartgeddes A Settlement Between the Pastoral Landscape Tradition and an Urban Centric World: Peter Lanyon’s late ‘Clev-edon Suite’ of paintings. stewart@stewartgeddes.com 029 2041 6658 / 07985 440324

paulgranjon researches aspects of the co-evolution of humans and machines through a visual art practice based on performance and robotics. pgranjon@uwic.ac.uk 029 2041 6624

rona lee Conceptually and thematically I am especially inter-ested in the possibilities offered buy the ‘fluid’ (shifting and inde-terminate ) to ‘dissolve’ such binary oppositions as dark and light, order and chaos, known and uncertain. rlee@uwic.ac.uk www.ronalee.co.uk

dr robert pepperell. Robert Pepperell is researching the relationship between art, science and philosophy, and how art can help us to understand the nature of human consciousness. rpepperell@uwic.ac.uk http://www.robertpepperell.com 029 2041 6622

simon pope’s research interest lies in the ways that being-to-gether can be explored through walking together and how this might provide new insights into engagements with ‘landscape’. SPope@uwic.ac.uk, si.pope@gmail.com, 029 2041 6666

drchrisshort There are two principal strands to my research: the art theory and practice of Wassily Kandinsky, and a photo-graphic quest to uncover ‘the order of things’; these two strands are interconnected. cshort@uwic.ac.uk, 029 2041 6967

professorandrestitt Born in Belfast, N. Ireland, Stitt is con-sidered one of Europe’s foremost performance and interdisciplin-ary artists. He has worked as an experimental artist since 1976 creating hundreds of unique works at major galleries, festivals, alternative venues and sites specific throughout the world.astitt@uwic.ac.uk, tracegallery@aol.com, www.andrestitt.com,029 2041 6616

richardwaring Still life now, can it be relevant to the contem-porary painter? rwaring@uwic.ac.uk, 029 2041 6689, 07754 966373

othercfarmembersinclude:Malcom Bennett, Nigel Bowles, Dallas Collins, Richard Cox, Annie Giles-Hobbs, Mark Halliday, Sue Hunt, Cecile Johnson-Soliz, Allan Jones, Dafydd Jones, Julian Kelly, Chris Lloyd, Luke Mintow-Czyz, Philip Nicol, Neil Pedder, Cherry Pickles, Louise Short, Nigel Williams

researchactivestaff

meatMeAT research is lead by a philosophical discourse centred about embodied interaction. We imagine and make theo-retical and practical experiments that explore how technol-ogy is enacted as a component of the soma. We also develop strategies for the implementation of enactive technologies and collaborate in our research with Transtechnology : University of Plymouth.

We believe that too much interaction design research has taken a philosophical and theoretical stance that analy-ses digitally driven systems by means of a rather narrow understanding of sociological or psychological determi-nants. MeAT’s approach is to seek a revisionist metade-sign that is sufficiently subtle in its terms to engage with the complexity of future discussions of the distributed and enacted human.

researchthemes:M : Metaphysics We are concerned to use design to explore the nature of being in the world, of consciousness and the aesthetic of being. We understand this exploration to be a contemporary form of natural philosophy, respecting the tenets of scientific rationalism while seeking to reclaim some of the rapturous potential of the pre-scientific mind.e : embodiment We hold that the soma (in its widest terms) can be most produc-tively understood by designers in terms of a contingent and gen-erative territory that simultaneously transcends and incorporates the organic and inorganic in a poetic interplay.

A : Aesthetics Our design exploration resides in the axiological anticipation and analysis of the creative potential of human interventions in the world. We seek, by means of design, to extend, refine and redefine these interventions in a manner that has resonance with the poetic trajectory of our species.T : Technology We are concerned to use design to explore the potentials of a fluid understanding of technology as both a paradigm and as an instance. Through design we believe we can seek a means of affording and facilitating a creative, sustainable and poetic aesthetic of being through technological means.

centreforresearchinceramics(crc)The relationship between ceramics and sculpture is an important research theme at Cardiff, as developed by Dr Jeffrey Jones, currently a Research Fellow at the Henry Moore Institute, Leeds. An exhibition at the HMI beginning September 2010 brings to fruition one strand of the project and the research continues through the work of a doctoral student.

The recording of ceramics through film and video, and colour in ceramics are other key research interests which are being pursued at PhD level, with the research facilitated through fully funded bursary awards.

Researchers at Cardiff work collaboratively with the Ceramic Collection and Archive at Aberystwyth University under the aegis of The National Centre for Ceramics in Wales. Staff have been jointly involved in research projects such as the organisation of conferences and the electronic publication of research material online through the journal Interpreting Ceramics. Joint supervision schemes for PhD students are being piloted.

currentandpotentialresearchprojects:Ceramics and Sculpture: identifying and clarifying relationships between the respective disci-1. plines in terms of recent history, contemporary art and curatorial practice.Recording and interpreting contemporary ceramics practice: exploring appropriate and effec-2. tive methods of documenting and analyzing artists’ practice in the medium of ceramics, and communicating results and findings. Kilns and firing: identifying and interpreting the activity of kiln building and firing across a 3. range of cultural, historical and contemporary examples.Colour and tone in ceramics: investigating the ways that the perceptual and illusory proper-4. ties of colour and tone can be understood, manipulated and exploited in the creation of ceramic artworks.

Ceramics Education: development of strategies, structures and methods for 5. doctoral and postdoctoral research where elements of creative practice are fore-grounded.

contact: jcjones@uwic.ac.uk

contact: asmorgan@uwic.ac.uk

11UniversityofWalesInstitute,Cardiff//ResearchActiveStaff

digit

drkeireinecanavan Specialising in the oral history of declin-ing tribal textile skills, to record and document fading memories and to preserve traditional weaving methods, symbolic patterns and designs with Kuwaiti Bedouin AlSadu weavers, Patola Ikat weavers of Gujarat India, and Iban Dayaks Warp Ikat weavers in Borneo Malaysia; messaging tribal lifestyle, their environment, and the emphasis of symmetry, in order to reintroduce skills and cultural awareness, educate the modern generations within fast developing societies, and to prevent further loss. kcanavan@uwic.ac.uk, http://www.alsaduweaving.wordpress.com, kcanavan@uwic.ac.uk, 0292 041 6634/7, +965 6609 5290

drpovllarsen Larsen’s research interest is in art & crafts and the use of digital design technologies, such as, rapid prototyping, Computer Aided Design & Manufacture, Computer Numerical Control (CNC) machines, eCommerce, eMarketing, mass-cust-omisation, etc. PLarsen-pdr@uwic.ac.uk, 029 2041 6778

dr .helenlong’s current area of research interest is the build-ing, decorating and furnishing of the 19th century house, includ-ing themes such as hand and machine processes, style and orna-ment, class, health and nature. hlong@uwic.ac.uk,02920416657

philipo’reilly’s research interest: Writing a paper on the work of Josef Albers and his book ‘Inter-action of Colour, specifically dealing with his concepts of transparency, and linking his con-cepts to my recent ceramics. poreilly@uwic.ac.uk, artwork.2000@uwclub.net, 0292041 6650, 020 7720 1666

christinashannon’s research interests encompass both prac-tice based research in the field of experimental design work aimed at the interiors market and the continuation of an investigation into French block printed textiles used as barter in the transatlan-tic slave trade. cshannon@uwic.ac.uk, 02920566962

drcathytreadaway’s research investigates the use of digital technology within creative practice and in particular the role of the hand and hand making within the digital process. Cathy is also Visiting Research Fellow at University of Bath, Department of Computer Science. ctreadaway@uwic.ac.uk, 02920417014, 07816 283501

theecologicalbuiltenvironment

drjohnlittlewood, Director of EBERE. Research interests: focused upon an Ecological Built Environment, which has three foci; the ecological design, construction, assessment and evalu-ation of dwellings communities; architectural technology and science; and biodiversity and the built environment. jlittlewood@uwic.ac.uk, 029 2041 6676john counsell, Head of the Department of Architectural Studies. Research interests: e-planning with 3D GIS & ad-hoc augmentation, &location aware systems; Building Information Modelling; Architectural design and design decision support systems; e-Learning; heritage and heritage recording. jcounsell@uwic.ac.uk, 029 2041 1556

tony whyman Research interests: conservation, preservation and enhancement of the built environment and built heritage and secondly, the teaching methodologies of architectural detailing. Both are considered in the context of sustainable practices. twhyman@uwic.ac.uk, 029 2041 6794

nickevans Research interests: sustainable design of buildings, real-world validation of data produced by Building Information Modelling software and the application of Building Informa-tion Modelling for automated Building Regulations compliance checking. nievans@uwic.ac.uk, 029 2041 6746

tim taylor Tim will be commencing in February 2010 to work on the ESF funded KESS PhD project in collaboration with United Welsh, entitled ‘A study to monitor the relationship between fabric, building quality and thermal performance, to determine whether low carbon design translates into low carbon construction‘; research Interests: design, construction and use of buildings and their intersection with the broader context of sus-tainable development.

stephensullivan Stephen will be commencing in March 2010 to work on the ESF funded KESS PhD project in collaboration with United Welsh, entitled ‘A study to evaluate best practice for dwelling sustainability and to develop and test design and con-struction templates for dwellings to meet level 4 and 5 of the code for sustainable homes for social housing providers in Wales’; research interests: environmental architecture

meat

drashleymorgan’s research interests are in phenomenologi-cal understanding of embodiment and identity, in particular, pain, and risk to the body, in addition to exploring ordinary experiences of technology as artefact and the mundane aspects of everyday uses of technology in relation to the body. asmorgan@uwic.ac.uk, ashley@meatresearch.co.uk, 029 2041 6684

dr steve thompson Design and technology philosophy: Consciousness studies and interaction design. Stephen’s research extends his PhD thesis, (Artefacts, Technicity and Humanisation : industrial design and the problem of anoetic technologies) in his current project ‘Semiinfinitebody’ through a series of experi-ments that play with the idea of the human as an enaction of the distributed techsomtic field. sthompson@uwic.ac.uk, stephen@meatresearch.co.uk, 029 2041 6380

stuartneil Education, Inclusion and the Emerging Urban Arts sneil@uwic.ac.uk, stuart@meatresearch.co.uk, 029 2041 1548

rachel eardley The question of play between deterministic and non-deterministic models of technology. raeardley@uwic.ac.uk

theo humphries Technology, humour, and the problem of social interpretation of embodied phenomena in design. thumphries@uwic.ac.uk, theo@meatresearch.co.uk, 029 2041 7085

chris glynn’s research explores the perceived boundaries of visual and musical language via performance, drawing and nar-rative. cglynn@uwic.ac.uk, chris@meatresearch.co.uk, 029 2041 7085

rachel murphy is currently working on a portfolio of Jewel-lery, questioning technology, the Environment, the Economy and specifically exploring where craft skills such as Jewellery making belong in a technological society.

jon piggott’s research interests in sonic media, sonic culture and the relationship between the physical and the electro mag-netic sound worlds. jpigott@uwic.ac.uk, jon@meatresearch.co.uk, 029 2041 6931

fakri othman How Rotoscopy technique can contribute to teaching handwriting for children with dyspraxia. faothman@uwic.ac.uk

janbennett Scientists, monsters and other allies: hybrid becom-ings in contemporary art. jabennett@uwic.ac.uk

reactivecolours

wendy keay-bright The Design of Sensory Technologies for children with learning difficulties and/or motor impairments. wkbright@uwic.ac.uk, wkeaybright@mac.com, 029 2041 6609/6633, 07803181488, Skype:wkeaybright

steve didcote “Wii Learn and Play” is the title of the work I have undertaken to investigate how everyday technologies can be utilised further to provide learning opportunities, through play, for pre-school children. My focus within this work has been looking at the direct understanding of how children interact with new technologies and devices, practically that of Wii remote and mobile phones. didstudios@googlemail.com, 0785 2255 082, Skype: StephenDid

adammartin researches and develops novel human-computer interfaces using mobile devices, electronic sensors, augmented reality, location based systems and wearable technologies. adam.martin@newport.ac.uk, 01633 432922

fakri othman How Rotoscopy technique can contribute to teaching handwriting for children with dyspraxia. faothman@uwic.ac.uk

crc

dr jeffrey jones, Reader in Ceramics. Research interests: founder editor of Interpreting Ceramics electronic journal (www.interpretingceramics.com) , author of Studio Pottery in Britain 1900 – 2005 (A&C Black 2007), convenor of ‘The Fragmented Figure’ conference at Cardiff School of Art and Design (2005), currently Research Fellow at the Henry Moore Institute, Leeds, and leader of the Ceramics and Sculpture project. jcjones@uwic.ac.uk, 029 2041 6607

michaelhose, Principal Lecturer, mhose@uwic.ac.uk ,tel. 029 2041 1568. Research interests: the ways the physical properties of ceramic materials impact upon both the making and the aesthetic outcome, including the roles of colour and tone in influencing the perception and reception of the resulting artworks.

petercastle, Course Director MA Ceramics, PCastle@uwic.ac.uk, tel: 029 2041 6615. Research interests: investigation of the impact of new technologies within studio ceramics practice and its integration into traditional methods and procedures of manu-facturer through innovative combinations of ceramic and print materials and processes.

ingrid murphy, Course Director BA Hons Ceramics, imurphy@uwic.ac.uk , tel. 029 2041 6343. Research interests: the delivery of creativity teaching in the material arts and process based practice, combined with ongoing research on enhanced technological learning applied to the delivery of skills teaching. She is also a practicing ceramic artist.

duncanayscough, Senior Lecturer, dsyscough@uwic.ac.uk , tel. 029 2041 6343. Research interests lie in ceramic practice and material sustainability; recently, this has intensified his engage-ment with the potters wheel, exploring the interrelationship of form and surfaces selectively exposed to carbonisation, reflecting the values of early European ceramic cultures.

dr natasha mayo, Lecturer, nmayo@uwic.ac.uk . Research interests are focused on the subject of contemporary figurative ceramics and creative pedagogy; her PhD investigated the ways in which the surface and form of the human body in figurative ceramic sculpture can be manipulated to suggest sensations and emotions experienced in relation to flesh and skin and recent research into ‘Making the Creative Process Visible – Methods in Creative Pedagogy’ (HEA funded project) has led to further research into enhanced technological learning delivery (LTDU funded project).

UniversityofWalesInstitute,Cardiff//ResearchActiveStaff12 UniversityofWalesInstitute,Cardiff//ResearchActiveStaff

thenationalcentreforproductdesignresearch(pdr)The National Centre for Product Design & Development Research (PDR) is a multidisciplinary centre for product design and development. The award winning centre offers a complete service to industry from research and analysis through to design, prototyping, manufacture and launch.

researchatpdr

researchactivestaffdarraghmurphy Research interests: design management, the development of design management tools; from strategy identi-fication and implementation to capability measurement, trans-ferring design management models to new rapid manufacturing applications. dmurphy-pdr@uwic.ac.uk

drandywalters Research interests: user centred design, the application of user centred design in SMEs. awalters-pdr@uwic.ac.uk

dr dominic eggbeer Research interests: The application of digital technologies, art and design techniques in patient-specific medical devices. The application of art and design techniques in the creation of more lifelike extra-oral, body prosthetics.

The centre’s research team is made up of senior and junior researchers, research assistants and research stu-dents. The focus of this team is on research which reflects the strategic importance of the creative application of design and the design process in the development of new products, systems and methodologies.

As a result PDR has gained an enviable reputation for the development and transfer of design knowledge and expertise into industry. This is evidenced by the number of products produced (over 350) for a wide range of clients to include consumer products, automotive, medical and defence.

dr povl larsen Research interests: digital design technolo-gies in the arts and crafts sector, online mass customisation of products in micro companies, embedding digital technologies in crafts. plarsen-pdr@uwic.ac.uk

roger moss Research interests: Applications of digital design technologies in art practice. rmoss-pdr@uwic.ac.uk

claire curneen, Lecturer, ccurneen@uwic.ac.uk . Research interests: as one of Europe’s major artists working with the figure through the medium of ceramics, Curneen’s artworks pursue themes of selfless sacrifice, transcendence, purpose and platonic love.

sara moorhouse, PhD student, samoorhouse@uwic.ac.uk, Saramoorhouse@hotmail.com, 07793 880246. Research inter-ests: the ways in which arrangements of colour interact and manip-ulate spatial perception of three-dimensional ceramic forms.

alisongraham, PhD student, algraham@uwic.ac.uk . Research interests: ‘My research is concerned with the creation of illusory depth and movement on the surface of ceramic artworks, through the manipulation and juxtaposition of colour and glaze’.

jineuikim, PhD student, jinny_joy@hotmail.com, jikim@uwic.ac.uk, 07737895637. Research interests: ‘I am interested in how surface marks and tone manipulate perception of three-dimen-sional ceramic form.’

leah mclaughlin, PhD student, lemclaughlin@uwic.ac.uk, 029 2041 6667. Research interests: ‘My PhD investigates how the moving-image can reveal the interaction between ceramicist and material. I contributed to the conference Showing Making; Rep-resentations of Image Making in Art Ritual and Science, Amster-dam, filmmuseum 2009’.

lauragray, PhD student, lagray@uwic.ac.uk. Research inter-ests: ‘My PhD is concerned with the relationship between ceram-ics and sculpture within the contexts of creating, collecting and displaying. There is a focus is on contemporary practice in my research, and I am specifically interested in the ‘sculptural’ quali-ties present in ceramics that use traditional vessel forms.’

13UniversityofWalesInstitute,Cardiff//ResearchatPDR

National Library of WalesIts founding document, the Royal Charter (1907, revised 2006), specifies that the key beneficiaries of the National Library should be those ‘engaged in research and learning’.

The Library has a long history of serving the needs of researchers in higher education institutions in Wales, most obviously by making its collections and expertise available to those pursuing their individual interests. An excellent example is Peter Lord, whose monumental trilogy The Visual Culture of Wales (1998-2002) depended critically on his pioneering exploration of the Library’s extensive graphic collections.

In recent years the Library has taken a more active role by cooperating with universities in joint programmes and projects that typically develop specific collections within the Library for research use.

Mae’r ddogfen a sefydlodd y Llyfrgell, Y Siarter Frenhinol (1907, diwygiwyd yn 2006) yn datgan fod y Llyfrgell Genedlaethol yn bodoli er budd y cyhoedd, gan gynnwys ‘y rhai sy’n ymroi i ymchwil a dysg’.

Mae gan y Llyfrgell hanes maith o wasanaethu anghenion ymchwilwyr yn sefydliadau addysg uwch Cymru, yn fwyaf amlwg drwy sicrhau fod ei chasgliadau a’i gwybodaeth arbenigol ar gael i’r rheini sydd ar drywydd eu diddordebau unigol. Enghraifft ardderchog yw Peter Lord, yr oedd ei drioleg anferthol, Diwylliant Gweledol Cymru (1998-2002) yn dibynnu i raddau hollbwysig ar ei waith arloesol yn archwilio casgliadau graffig helaeth y Llyfrgell.

Yn y blynyddoedd diwethaf, cymerodd ran fwy gweithredol trwy gydweithredu â phrifysgolion mewn rhaglenni a phrojectau ar y cyd sydd fel rheol yn datblygu casgliadau penodol yn y Llyfrgell at ddefnydd ymchwil.

14 NationalLibraryofWales

The Library is always open to discussing possible projects with higher education institutions in Wales. It already has broad agreements with WIRAD and IMEMS (Aberystw-yth and Bangor) and is currently developing a Memoran-dum of Understanding with Aberystwyth University.

Often a distinctive contribution of the Library is to create digital copies or other resources from the analogue originals in its collections. Its digitisation facilities are among the best in the UK and serve the Library’s internal programme as well as externally funded projects, the largest of which aims to digitise millions of pages of nineteenth century newspapers and journals in Wales.

The other main asset the Library brings to joint proj-ects with academic partners is the knowledge and skills of its staff: experts on, among other things, medieval manu-scripts, art history in Wales, digitisation techniques, pho-tography, conservation, film history, archives, maps and book history. Many have published widely in their fields.

Later in 2010 the Library will appoint the new Univer-sity of Wales Chair in Digital Collections, probably the first academic Chair in any national library in the world. The post-holder will produce academic research and also work that will benefit the Library and its users in any aspect of the generation, care and preservation of digital collections in the humanities. S/he will be required to attract addi-tional research resources and to this end the Library wel-comes suggestions for projects from any higher education institution in Wales.

researchprojects‘The Hengwrt Chaucer’, with Sheffield and De Mont-1. fort Universities http://www.sd-editions.com/hengwrt/‘Imaging the Bible in Wales’ with the University of 2. Wales Lampeter and others http://www.imagingthebible.org/wales/‘The cartoons of Leslie Illingworth’, with the Univer-3. sity of Kent http://www.llgc.org.uk/illingworth/index_s.htm‘The poems of Dafydd ap Gwilym’, with Swansea 4. University http://www.dafyddapgwilym.net/‘Seals in medieval Wales’, with Aberystwyth Univer-5. sity http://www.aber.ac.uk/~hstwww/research/simew.html‘The poetry of Guto’r Glyn’, with the Centre for 6. Advanced Welsh and Celtic Studies http://www.wales.ac.uk/en/CentreforAdvancedWelshCelticStud-ies/ResearchProjects/CurrentProjects/Poetryof-GutorGlyn/IntroductiontotheProject.aspx

contact: Andrew Green, Librarian, National Library of Wales, Aberystwyth, Ceredigion SY23 3BU 01970 632805, andrew.green@llgc.org.uk

Above Left: John Ingleby,

Berse Chapel, Watercolour, 1794

Above Right: John Ingleby,

Conway from above the Ferry,

Watercolour, 1795

Right: Richard Calvert Jones, Margam Castle, Daguerreotype, 1841

15NationalLibraryofWales//ResearchProjects

Aberystwyth University School of ArtResearch at the School of Art falls into two areas: fine art practice (painting, photography, printmaking, illustration, contemporary drawing, multi- and time-based media) and the study of art and visual culture and its presentation. We are committed to research in art, its histories and practices, in both international and national dimensions. Our researchers contribute to innovative interdisciplinary fields - such as art and material culture, art and gender studies, and art and religion - within collaborative, national and international contexts.

In Fine Art, our staff undertake practice-led research in: traditional and contemporary techniques of printmaking, painting, photography, illustration and the book arts, and their histories; digital, traditional and alternative photographic and printmaking processes; figurative painting; contemporary drawing practice.

In Art History, we are concerned with:19th- and 20th-century European art, especially British; the visual culture of Wales, Welsh art and craft, collecting and curatorial practices; British printmaking and the illustrated book; Australian art; the visual culture of religions; women’s art, craft and design; 20th-century British and world ceramics.

Mae ymchwil yn yr Ysgol Gelf yn ymrannu’n ddau faes: arfer celfyddyd gain (peintio, ffotograffiaeth, gwneud printiau, darlunio, lluniadu cyfoes, aml-gyfryngau a chyfryngau’n seiliedig ar amser) ac astudio celf a diwylliant gweledol a’i chyflwyniad. Mae gennym ymrwymiad i waith ymchwil mewn celf, ei hanes a’i harferion, ar lefelau rhyngwladol a chenedlaethol. Mae ein hymchwilwyr yn cyfrannu i feysydd rhyngddisgyblaethol arloesol – fel celf a diwylliant materol, celf ac astudiaethau rhywedd, a chelf a chrefydd – o fewn cyd-destunau cydweithrediadol, cenedlaethol a rhyngwladol.

Mewn Celfyddyd Gain, bydd ein staff yn ymgymryd â gwaith ymchwil sy’n canolbwyntio ar arfer mewn: technegau traddodiadol a chyfoes gwneud printiau, peintio, ffotograffiaeth, darlunio a chelfyddydau’r llyfr, a hanes y rhain; prosesau ffotograffig a gwneud printiau digidol, traddodiadol ac amgen; peintio ffigur; arfer lluniadu cyfoes.

Yn Hanes Celfyddyd, rydym yn ymddiddori yn y canlynol: celf Ewropeaidd y 19eg a’r 20fed ganrif, yn enwedig celf Brydeinig; diwylliant gweledol Cymru, celf a chrefft Cymru, arferion casglu a churadurol; printwneuthurwyr Prydeinig a’r llyfr darluniadol; celf Awstralia; celf weledol crefyddau; celf, crefft a dylunio menywod; cerameg yr 20fed ganrif ym Mhrydain a’r byd.

16 AberystwythUniversity

researchgroups

centreforstudiesinthevisualcultureofreligion(csvcr)The Centre has been established to study the visual culture of religion. This is a relatively recent and a pioneering aca-demic field. It aims to study those aspects of the material, phenomenal, and transcendental expressions of religions that are apprehensible by ‘sight’ (in both the perceptual and imaginal sense). This is with a view to developing a fuller knowledge and understanding of the visual traditions of specific systems of faith, as well as (eventually) a holistic and unified conception of religious visuality within a global and multi-faith context.

A religious culture’s visible attributes are as much a repository and articulation of thought, identity, values, ideals, and priorities as are its textual, oral, and auditory representations. The study of these attributes is, therefore, indispensable to a full-orbed appreciation of religious life and belief. Because the visual and other expressions of religious culture are interdependent, research takes place within a matrix of relevant disciplines, and involves a pooling and an exchange of scholarly methods. The sub-stance of study comprises traditional high- and applied-art mediums, as well as low-art forms, ephemera, media, and immaterial manifestations of the religious imagination, produced by a diversity of orthodox, heterodox, main-stream, and marginal religious groups, past and present.

contact: Professor John Harvey, jh@aber.ac.uk

schoolofartmuseumThe collections of the School of Art Museum provide a focus for a funded research centre, projects and postgraduate study. Staff disseminate their research through the curation of touring exhibitions, the publication of books, catalogues and articles, the delivery of public lectures, and through project- or field-dedicated websites and online databases. Much of the research involves original investigation leading to new knowledge and improved insights into the collec-tions. The Museum holds over 20,000 examples of fine and decorative art. At the core of the fine art collection are our holdings of European prints from the 15th century to the present day, drawings, watercolours, photographs and

private press books. In addition to the George Powell Col-lection of pictures, bronzes and objet d’art bequeathed in 1882, there are over 5,000 wood engravings for periodicals of the 1860s and a fine collection of prints representing the Etching Revival from Whistler to the inter-war years. Other significant areas of interest include art in Wales since 1945, contemporary British printmaking, Welsh photography and an outstanding collection of 20th-century Italian pho-tographs. Mindful of their research potential, the Museum acquires significant bodies of original artworks and archive material representative of individual artist’s careers.

contact: Robert Meyrick, rtm@aber.ac.uk

ceramiccollection&archiveOriginally based on the early records of the Craft Potters’ Association of Great Britain, the Ceramic Archive now collects print, audio, video and electronic documentation relating to contemporary and studio ceramics. The Ceram-ics Collection comprises contemporary British, European, American, and Japanese studio pottery, 18th & 19th century Welsh and English slipware, Swansea and Nantgarw porce-lain, Art Pottery and Oriental ceramics. The strength is its internationally renowned holdings of early 20th century British pioneer studio pottery.

contact:Moira Vincentelli, mov@aber.ac.uk

Left to Right: John Harvey, Graven Image (The Second Commandment), encoded voice, guitar, and devices, 2009

Australians in Britain: the twentieth-century experience, Monash University ePress, 2009

John Harvey, The First Day (Genesis 5.1-5), oil on board, 2007

A Lombok potter, Bali Island

Daniel in the Lion’s Den, lithograph by Butterworth & Heath after a painting by E N Downard, 1862

17AberystwythUniversity//ResearchGroups

moira vincentelli Senior Lecturer in Art History and Curator of Ceramics. mov@aber.ac.uk Women and Ceramics: Gendered Vessels (MUP, 2000) and Women Potters: Transforming Traditions (A&C Black, 2003), as well as her work developing the Ceramics Collection and Archive, have established Vincentelli at the forefront of contemporary studies in ceramics. External research collaborations are key to her work. Through a symposium in 2007 and an exhibition in 2008 at Carel-ton College and Northern Clay Centre, Minneapolis, Vincentelli has developed an international network of scholars writing about traditional ceramics and their transformations and adaptations in the contemporary world. She has curated several national touring exhibitions of ceramics including Sankofa: Ceramic Tales from Africa (2006) and Body Works: Figurative Ceramics (2005), and regularly develops exhibitions, websites and educational proj-ects in relation to the Ceramic Collection and Archive, some of which draw on postgraduate projects and research. Vincentelli is a founding member of the Interpreting Ceramics Research Col-laboration (with UWIC, Bath Spa and UWE), which organizes conferences and exhibitions and publishes the electronic journal Interpreting Ceramics. She is on the Editorial Board of Interpreting Ceramics, has edited Issue 10 (2008) on World Ceramics and is a long-serving Member of the Organising Committee of the Inter-national Ceramics Festival. Following an AHRC-funded project she is currently preparing a book on Ceramics in Wales, a Gendered Perspective.

paulcroft Lecturer in Fine Art (Printmaking). puc@aber.ac.uk, www.paulcroft.orgPaul Croft trained in Fine Art, specialising in drawing, painting and printmaking. Since qualifying as Master Printer from the Tamarind Institute of Lithography in 1996, his research and prac-tice as an artist, educator, printmaker and collaborating printer has culminated in the publication of two books on Stone Lithogra-phy and Plate Lithography (UK: A&C Black, 2001 & 2003; USA: Watson-Guptill, 2003; China: JML Fine Art Press, 2003).

In 2007 he curated Stone-Plate-Grease-Water, an exhibition of international contemporary lithography, an AHRC-funded research project that has made a significant contribution to the understanding of the nature and diversity of current lithographic practice. The show included 90 prints by 64 artists from the UK, Ireland, USA, Canada, Australia, Argentina and Jordan, and was accompanied by a catalogue and website (www.spgw.co.uk).Integration of studio-based research – primarily concerned with lithographic practice and collaboration – into the pedagogical environment is seen as an important aspect of student educa-tion. Recent collaborations with visiting artists including David Tress, Shani Rhys James, Stuart Pearson Wright, Marcelle Han-selaar and Wuon Gean Ho have made a considerable impact and contribution to the teaching environment. Similarly continuing research into the interfacing techniques of stone lithography and computer-generated drawing is encouraging interaction between traditional and digital areas.

As an Associate Fellow (2005) and Fellow (2007) of the Royal Society of Painter-Printmakers, and Chairman of Aberystw-yth Printmakers, Croft has formed an international network of artists, print workshops and educational institutions with the aim of increasing the profile of lithography and attracting collaborat-ing artists to the School of Art. He has contributed several articles to Printmaking Today and his work appears in several books on printmaking, including Tamarind 40 Years (UNM, 2000), Collect-ing Original Prints (A&C Black, 2005), Printmakers Secrets (A&C Black, 2009), and Contemporary Printmaking (2009). Recent exhibitions include Contemporary Welsh Printmakers (Lahore and Karachi, 2007), The Prints of Wales (Kansas, 2007), and two international portfolio exchanges at The Southern Graphic Conference in Richmond, USA (2008). In 2008 he was invited by Gregynog Press to illustrate Welsh Times celebrating the work of author Emyr Humphreys. Teaching and research supervision covers Fine Art (printmaking) and Art History (history of lithog-raphy).

mirandawhall, Lecturer in Fine Art. mpw@aber.ac.ukwww.mirandawhall.comAn early career researcher, Whall has developed a distinctive, dynamic, and provocative interdisciplinary visual and audio response to issues, taboos and expectations surrounding female identity and expression within social, political, cultural, animal and natural environments by creating humorous and unlikely scenarios between herself and other things, explored in ironic relation to art-historical, technological, pastoral, and Romantic imagery.

Miranda Whall gained her MA in Fine Art from the Royal Academy Schools in 1996. She has exhibited widely; her exhibi-tions have been staged at the BALTIC Centre for Contemporary Art, Gateshead, Schuster Gallery, Berlin, Courtauld Institute of Art, London, Contemporary Art Society, London, Gimpel Fils gallery, London and Glasgow International Festival in solo, two person and group shows, comprise works that combine conven-tional media with time-based, mixed- and digital format media.

She was Arts Council England, North East Artist in Resi-dence in Berlin and Wheatley Bequest Fellow at BIAD. Whall’s digital lace drawings have been exhibited in the Jerwood Drawing Prize competition and Pizza Express Drawing Prize and featured in international contemporary drawing exhibitions: The Square Root of Drawing at Temple Bar Gallery, Dublin, and Salon 2007 New British Painting and Works on Paper, curated by Flora Fair-burn, London. Whall was one of ten artists representing the UK in the 2008 international Kaunas Art Biennial and Textile 07 Unpicked and Dismantled at the M. K. Ciurlionis National Art Museum, Lithuania.

Her work has been included in exhibitions curated by distin-guished curators of contemporary art such as Soriya Rodriquez, curator of Zoo Contemporary Art Fair (Write–On Right–Off), Irene Bradbury from the White Cube, and J. J. Charlesworth in Jake Chapman’s house and gallery. The Animal Gaze, a major exhibition of international artists curated by Rosemarie Goldrick, toured to the Centre for Contemporary Art and the Natural World, and Plymouth City Museum and Gallery. Her animation work has recently been published by Filmarmalade launched at Bfi and distributed through ICA and the Bfi.

Recent video projects include: Marine Dialogues, a series of 5 videos, underwater conversations with marine creatures, a col-laboration with Dr Helen Marshall and Dr Rupert Marshall of IBERS; Mother/Fucker, a video Triptych, digital manipulation of Gustave Courbet’s painting, L’Origin de Monde. She is currently working on an Arts Council funded project ‘A Love Poem’, an underwater journey also in collaboration with the Drs Marshall and foreign language speakers and translators. Future projects are Conversations with Mothers, a series of films in conversation with creatures who have interesting motherhoods, and Glow Worms, Spiders etc, in collaboration with Dr’s Marshall and others. Teach-ing and research supervision covers contemporary interdisciplin-ary fine art, with interests in new media, site specificity, relational aesthetics, dialogical art and female representation.

johnharvey Professor of Art, jhh@aber.ac.ukhttp://users.aber.ac.uk/jhh/John Harvey is an historian of art and visual culture and practi-tioner and theoretician in Fine Art. His research field is the visual culture of religion. His art-historical studies have engaged the visual imagery of popular piety, supernaturalist traditions, and working-class culture. He has written several books including Photography & Spirit (2007); The Appearance of Evil: Apparitions of Spirits in Wales (2003); Image of the Invisible: The Visualization of Religion in the Welsh Nonconformist Tradition (1999); and The Art of Piety: The Visual Culture of Welsh Nonconformity (1995). Harvey has also contributed chapters and articles to books and journals including ‘The Agony in the Garden’ (Paternoster, 2009), ‘Visual Typology and Pentecostal Theology’ in Imaging the Bible (SPCK, 2008) and ‘Seen to be Remembered’ in Journal of Design History (2004). He has delivered scholarly papers at conferences held in the Europe and USA. Since 2005, he has initiated sympo-

sia and research projects, uniting art historical and biblical studies with the co-operation of the Department of Theology and Studies at Lampeter.

In art practice, his work explores non-iconic attitudes to reli-gious art through an engagement with visual and textual sources, theological and cultural ideas, and systemic processes. The work, exhibited in the UK and USA, is discussed in The Pictorial Bible series publications (National Library of Wales, 2000; School of Art, 2007). Presently, he is co-authoring The Bible as Art, and extending his investigation of textual-visual relationships in con-junction with sound, in the context of The Pictorial Bible III: Trans-figurations. His research supervision covers: the visual culture of religion; image and text; religion and photography; religious architecture; contemporary art, art in Wales, and the practice of painting and drawing.

robertmeyrick Head of School of Art and Keeper of Artrtm@aber.ac.uk, www.robertmeyrick.co.ukRobert Meyrick trained in fine art and art history and now writes on the history of printmaking, art and visual culture of Wales, 20th-century British art, and collecting practice. This is reflected in his contribution to teaching at Aberystwyth and in his develop-ment of the University’s art collections. In 2001 he was invited to become an Honorary Fellow of the Royal Society of Painter-Print-makers in ‘recognition of his services to the art of printmaking in Britain’. He has curated national touring exhibitions and written accompanying publications for leading provincial museums and private art galleries in the UK.

Meyrick is regularly invited to contribute chapters for books and catalogues, among them ‘Beyond Impressionism’ (2006) and ‘Wealth Wise and Culture Kind’ (2007) for National Museum Wales, ‘In Pursuit of Arcadia’ for Pallant House, Chichester (2007), ‘Little Englandism’ in Ancient Landscapes, Pastoral Visions for Southampton Art Gallery, and ‘Edgar Holloway’s American Etchings’ for the Rensselaer County Historical Society, New York (2008). He was advisor-contributor-author for the National Museum Wales centenary exhibition, Industry to Impressionism (2007). His monographs include The Etchings and Engravings of Edgar Holloway (1996) and John Elwyn (Ashgate, 2000).

Since 1998 he has served on the Editorial Board of Gregy-nog Press and is advisor in the compilation of The Dictionary of Welsh Biography 1971-2000. As his Catalogue Raisonné of Prints by Joseph Webb nears completion, he is soon to research and curate a major retrospective exhibition of paintings by Christo-pher Williams (1873-1934) for the National Library of Wales and National Museum Wales (2011). Other ongoing projects include a book chapter for Victorian Illustration (Ashgate, 2010), The Arts and Crafts Print (Antique Collectors’ Club) and accompanying touring exhibition, and catalogues raisonné of prints by William E C Morgan (1903-1979) and Sydney Lee RA RE RWS (1866-1949). Teaching and research supervision covers Fine Art (illus-tration and printmaking) and Art History (20th-century British printmaking, book illustration, the private presses, art in Wales, 19th- and 20th- century British Art, collecting practice, and mate-rial held in the School of Art collections).

researchactivestaff18 AberystwythUniversity//ResearchActiveStaff

colincruise Research Lecturer. coc@aber.ac.ukBefore starting an academic career in Victorian Studies, Cruise studied Fine Art, specialising in printmaking and painting. His PhD thesis concerns English Literature of the 1890s in relation to religion, art, and gender. He has published widely on aspects of Victorian culture, including ‘Versions of the Annunciation’ (After the Pre-Raphaelites (MUP 1999); ‘Baron Corvo and the Key to the Underworld’ in The Victorian Supernatural (CUP 2003); and ‘Sin-cerity and Earnestness: Rossetti’s Early Exhibitions’ in Burlington Magazine ( January 2004). He contributed three entries on Victo-rian artists to the Dictionary of National Biography. Forthcoming publications include essays on Pater (for Macmillan), on Simeon Solomon (for Ashgate) and on drawing for The Cambridge Com-panion to Pre-Raphaelitism.

Cruise curated the major exhibition Love Revealed: Simeon Solomon and the Pre-Raphaelites (2005-6) – which toured Villa Stuck, Munich, and the Ben-Uri Gallery, London – and organised the accompanying conference for the National Portrait Gallery, London (2006), and the symposium at Yale BAC (2006). The exhibition catalogue was published by Merrell in 2005.

Cruise is a Fellow of the Royal Society of Arts; Member of the AHRC Peer Review College (since 2007); Member of the AHRC Postgraduate Panel (since 2008); and served as Chair of the Association of Art Historians (2004-07). He is a member of the academic advisory panel for a major JISC-funded project to digitise all Pre-Raphaelite works at BMAG and is curator of an international touring exhibition on Pre-Raphaelitism, The Poetry of Drawing (catalogue to be published by Thames and Hudson in 2010). He was the holder of the first Pre-Raphaelite Fellowship jointly awarded by the University of Delaware and the Delaware Art Museum in 2008. His teaching and research supervision covers 19th-century art and its cultural contexts in social history and religion; Pre-Raphaelitism; the Aesthetic Movement; the identity of the artist in British art c1800-c1960; the history of drawing.

chriswebsterLecturer in Fine Art (Photography)cpw@aber.ac.ukChristopher Webster studied art and art history as an undergradu-ate and postgraduate in South Africa. As a fine art photographer he has staged numerous solo and group exhibitions internationally; most recently, Cipher toured the UK, Ireland and South Africa. He has staged solo exhibitions in the USA (2002, 2003), the UK (1998, 1999, 2001, 2005, 2006), South Africa (1993, 1998), and the Netherlands (2000). He has written book chapters for The Initiated Artist (Amsterdam UP, 2008), Esotericism, Art and Imagi-nation (MSU, 2008) and contributed to The Nineteenth Century Encyclopaedia of Photography (Routledge, 2007).

A member of the Association of Studies in Esotericism and the European Society for the Study of Western Esotericism, Webster serves on the editorial boards of Consciousness, Literature and the Arts and the South African Journal of Photography. As evidenced by international exhibitions and conference papers, he contin-ues to develop, with his PhD and Masters students, alternative approaches to photographic practices (both chemically and con-ceptually). His most recent practice is centred on the production of short 16mm films using stop-motion animation and manipula-tion of the film surface. His short film Pearl (2008) was shown by Outcasting, a Cardiff-based moving-image gallery. He is currently working on new films toward a solo exhibition in 2009.

Teaching and research supervision covers Fine Art (pho-tographic and lens based practice) and Art History (history of photography, specifically: occult and esoteric applications of photography, including physiognomy; spirit photography, docu-mentation of esoteric events, photographs as evidence of the supernatural; the staged and manipulated photograph, including photo-collage and photomontage; and the use of found images).

simonpierseLecturer in Fine Art (Painting)spw@aber.ac.uk, www.simonpierse.co.ukA painter and art historian, Simon Pierse has published inter-nationally. His articles on Sidney Nolan in Wales, the 1961 Whitechapel Art Gallery exhibition Recent Australian Painting, paintings of Uluru by Lloyd Rees and Michael Andrews, and Antony Gormley’s Inside Australia installation in Western Aus-tralia, have appeared in Art & Australia, the Melbourne Art Journal, and Australian Studies. He is currently writing a book on exhibi-tions of Australian art in London, 1953-65.

In 2000-1, he was awarded a Sir Robert Menzies Bicenten-nial Fellowship and was based at La Trobe University, Melbourne. He is a member of the British Australian Studies Association and regularly visits Australia, most recently in 2007-8 on a five month residency to Dunmoochin, home of Australian artist Clifton Pugh (1924-1990). Pierse is also involved in the organization and curation of exhibitions: either touring exhibitions, such as Terra Incognita, an Arts Council funded exhibition of contemporary art about the Australian landscape, or exhibitions designed for the School of Art Galleries, such as Sidney Nolan: A Personal View, staged in collaboration with the Sidney Nolan Trust.

With the support of the AHRC and collaboration of the Alpine Club, London, the Royal Geographical Society, Fondazi-one Sella, Biella, and the Roerich Museum, New York, he curated the exhibition Kangchenjunga: Imaging a Himalayan Mountain, marking the 50th anniversary of the first ascents of the mountain. Teaching and research supervision covers Fine Art (painting and drawing) and Art History (post-war British and Australian paint-ing, especially British perceptions of Australian art, identity and landscape).

19AberystwythUniversity//ResearchActiveStaff

Swansea Metropolitan UniversityDynevor Centre for Arts, Design and MediaThe growth of SMU’s Art & Design research environment, strategies and infrastructure since RAE2001 has been significant. This has been accelerated by the creation of a School of Research & Postgraduate Studies, the appointment of a Head of School, three Research Facilitators, a central University Research Administrator, the expansion of the University’s Commercial Services and links to knowledge exploitation funding. These developments have facilitated a growing number of qualified research supervisors, research students and studentships funded by our success in RAE2008, and the establishment of interdisciplinary research centres, networks and groups.

Key research mechanisms include the Centre for Innovation and Research in the Creative Industries, (CIRIC: www.smu.ac.uk/ciric), the Centre for Lens-Arts and Science Interaction (CLASI: www.smu.ac.uk/clasi), the Science, Art and Technology Network (www.smu.ac.uk/satnet) and the Architectural Glass Centre (AGC: www.agc.org.uk ). The percentage of research active staff in the Faculty of Art and Design is high, and a mentoring scheme ensures that new and emerging researchers are supported. Research studentships are aligned with relevant Research Groups and supervisors. International exhibitions, publications and symposia are supported and a number of international research partnerships have been established. There has been substantial external investment in the research infrastructure and new initiatives are in the early stages of what promises to be a highly productive phase of activity.

Mae twf amgylchedd, strategaethau ac isadeiledd ymchwil Gelf a Dylunio’r Brifysgol ers RAE2001 wedi bod yn sylweddol. Cyflymwyd hyn oll gan sefydlu Ysgol Ymchwil ac Astudiaethau Ôl-raddedig, penodi Pennaeth Ysgol, tri Hyrwyddydd Ymchwil, a Gweinyddydd Ymchwil canolog i’r Brifysgol, ehangu Gwasanaethau Masnachol y Brifysgol a chysylltiadau â chyllid manteisio ar wybodaeth. Mae’r datblygiadau hyn wedi esgor ar nifer cynyddol o oruchwylwyr ymchwil cymwys, myfyrwyr ymchwil ac ysgoloriaethau i fyfyrwyr a gyllidwyd gan ein llwyddiant yn RAE2008, a sefydlu canolfannau ymchwil, rhwydweithiau a grwpiau rhyngddisgyblaethol.

Mae mecanweithiau ymchwil allweddol yn cynnwys y Ganolfan Arloesedd ac Ymchwil yn y Diwydiannau Creadigol (CIRIC: www.smu.ac.uk/ciric ), Canolfan Rhyngweithio Celfyddydau Lens a Gwyddoniaeth (CLASI: www.smu.ac.uk/clasi), y Rhwydwaith Gwyddoniaeth, Celf a Thechnoleg (www.smu.ac.uk/satnet), a’r Ganolfan Gwydr Pensaernïol (AGC: www.agc.org.uk). Mae’r ganran o staff y Gyfadran Gelf a Dylunio sy’n weithgar o ran ymchwilio yn uchel, ac mae cynllun mentora yn sicrhau fod ymchwilwyr newydd a dibrofiad yn cael cefnogaeth. Mae ysgoloriaethau ymchwil yn cael eu cyplysu â Grwpiau Ymchwil a goruchwylwyr perthnasol. Cefnogir arddangosfeydd rhyngwladol, cyhoeddiadau a symposia a sefydlwyd nifer o bartneriaethau ymchwil rhyngwladol. Bu buddsoddi allanol sylweddol yn yr isadeiledd ymchwil, ac mae mentrau newydd eisoes ar y gweill ar ddechrau’r hyn sy’n addo bod yn gyfnod o weithgaredd cynhyrchiol dros ben.

20 SwanseaMetropolitanUniversity

researchgroupscentreforlens-arts&scienceinteraction(clasi)Centre for Lens-Arts and Science Interaction (CLASI) encourages and promotes interdisciplinary research proj-ects that stimulate innovation and experimentation across photographic, digital, installation and electronic arts. A strong emphasis is placed on research strands where the his-tories, philosophies and practices of art and science inter-sect. The definition of art and science is intentionally broad and the centre is aligned with the Science, Arts and Tech-nology Network (SATnet) and the Centre for Research and Innovation in the Creative Industries (CIRIC). Key research strands are: art and bioscience; memory and memento mori; taxonomies and constructions of nature; performed photography and philosophical multiplicities. CLASI aims to foster interdisciplinary research at national and international levels and to build partnerships with other arts and educational establishments, fostering and promoting collaborations that yield rigorous, challenging and inventive outcomes.

potentialresearchprojects:Philosophical discourses between art and science (practice 1. and theory)The history and evolution of lens-based practices such as 2. photography and the emergence of digital technologies (and how this relates to our understanding of visual culture and representation)Biological discourses of embodiment and cognition (neu-3. ro-culture, anatomy, cognitive psychology, philosophy)Taxonomies, typologies and classification of the natural 4. and constructed environment (including museology)Time-based arts and the vanitas and memento mori (with 5. particular reference to photography).

contact:Dr. Karen Ingham, karen.ingham@smu.ac.uk http://www.smu.ac.uk/research/index.php/art-and-design

science,art&technologynetwork(satnet)

Science, Art & Technology Network (SATnet) is a Welsh Assembly Knowledge Exploitation Fund (KEF) network and research centre for science, arts and technology trans-fer and innovation. The network promotes interdisciplin-

contact:Anna Lewis, anna.lewis@smu.ac.uk http://www.smu.ac.uk/satnet

Creativeindustriesresearch&innovationcentre(ciric)Creative Industries Research and Innovation Centre (CIRIC) is a £5 million development, funded through the EU, SMU and private industry. It is a hub supporting six research projects:

Moving Image Wales: knowledge transfer to the 1. media industry (A4B KTC funded.) Creativity into Micro-Enterprises: empowering 2. creative practice in the business sector.Textiles Technology Project: knowledge transfer to 3. the textile and fashion sector in Wales (A4B KTC funded.) SATnet: a network for science, arts and technology 4. innovation (A4B KEP funded.)IPCRES: International Project Centre for Research 5. into Events and SituationsMIKE - Media Information Knowledge Exchange - 6. media knowledge available and accessible to Welsh businesses (A4B KEP funded.)

contact: james.moxey@smu.ac.uk, http://www.smu.ac.uk/ciric

ary collaboration between the usually distinct disci-plines of fine, conceptual and applied arts, traditional and emerging technologies, the physical and biological sciences and engineering. Knowledge transfer is facili-tated between and across science, technology, the cre-ative industry sector and small to medium enterprises, together with practising artists, academics and Welsh Higher Education Institutions. It provides a forum for creative exchange and promotes ingenuity through innovation from research to production.

potentialresearchprojectsInvestigations into print technologies, both traditional 1. and digital, from the perspective of conceptual, applied, and nanotechnology perspectives.Development of innovative laser cutting technologies in 2. the production and presentation of food.Experimentation of industrial laser and waterjet cutting 3. technologies in the creation of steel applied art objects and non-traditional art and engineering practices.Knowledge exchange relating to the relationship be-4. tween art, science and technology.

CIRIC’s mission is to foster R&D of products, processes and services. CIRIC is an exemplar of the Welsh Assem-bly’s aim to ensure that high quality research facilities are available to meet the needs of Welsh economic growth sectors.

potentialresearchprojectsMedia: creative developments in cross media projects 1. focused on attracting investment into Wales. Materials: innovative approaches in the use and application 2. of materials (glass, cloth, ceramics, metal, paper, wood, composites) using laser and water cutting. Creativity: research and practice in the relationship be-3. tween creative pedagogy and organisational change.

SMU, Dynevor Centre for Arts, Design & Media

21SwanseaMetropolitanUniversity//ResearchGroups

appliedartsresearchgroupApplied Arts Research Group researchers are investigat-ing the inter-relationship of old and new technologies and ask questions concerning digital technologies, creativity, the making of artefacts and the possibility of new forms and contexts. It also includes drawing research and how drawing supports creativity and the emergence of ideas while making. In 2008 the group coordinated and hosted an international symposium Marking Space which was accompanied by an exhibition and publication. http://www.smu.ac.uk/ciric/index.php/ciric-2005-2008/mark-ing-space.contact:Beate Gegenwart beate.gegenwart@smu.ac.ukhttp://www.smu.ac.uk/research/index.php/art-and-design

landscaperesearchgroupThe concept of landscape in its many historically-deter-mined formations is being explored through practices including painting - specifically the refutation of the nega-tive critique of landscape painting, - site-specific installa-tions and interventions, and also through photographic practices, in particular the constructions of images using photo-technologies not normally applied within the land-scape tradition.

contact:Prof. Andrea Liggins andrea.liggins@smu.ac.uk http://www.smu.ac.uk/research/index.php/art-and-design

drawingresearchgroupThe functions of drawing are identified as threefold:

researchers explore the potential of drawing as a means of documentation of the visual world, as a means of expressing personal responses to socio-political issues, and as a means to developing an intelligence of seeing through innova-tive teaching strategies - an intelligence which is likely to inform the widest range of contemporary art prac-

tices. There is also cross-disciplinary research being under-taken between teachers of drawing, visual psychologists and study skills tutors, testing the hypothesis that indicators of dyslexia might be discerned in the drawings of dyslexic students: http://www.hhc.rca.ac.uk/kt/include/2007/proceedings/paper.php?ID=1_6

potentialresearchprojectsThe Drawing Research Group is keen to develop projects that enhance the pedagogy of drawing, and establish a theoretical basis for the social semiotics of drawing practice.

contact:Dr. Howard Riley howard.riley@smu.ac.uk http://www.smu.ac.uk/research/index.php/art-and-design

lensbasedresearchMuch of the lens-based research is conducted under the umbrella of CLASI. Working in partnership with cultural industries nationally and internationally, CLASI encour-ages and promotes interdisciplinary research through prac-tices such as photography, time-based media, performed photography, digital imaging and electronic arts.

contact:Mark Cocks mark.cocks@smu.ac.uk http://www.smu.ac.uk/research/index.php/art-and-design

fineartresearchgroupThe term Fine Art, with its legacy steeped in the Renais-sance struggle to gain higher social status for the plastic arts, today refers to practices both material and conceptual. Researchers aim to integrate the two, producing work as a personal response to any given situation, or as an interven-tion in the wider socio-political context. Themes include debates around gender relationships and identities; site specificity and location; the semantics of materials; politi-cal and cultural processes; and the dialogue between curat-ing and practice. In any event, the search is to balance those two criteria of quality: conceptual intrigue, and perceptual intrigue.

contact:Tim Davies tim.davies@smu.ac.uk

22 SwanseaMetropolitanUniversity//ResearchGroups

professor andrea liggins, Dean of Art & Design and Director of several CIRIC initiatives into creativity and enter-prise. Research interests are photography (including documen-tary); the photographic baroque in practice; the relationship of photography and values attributed to landscape; and the peda-gogy of creativity. Supervising PhD: Hamish Gane Photography and Melancholia. andrea.liggins@smu.ac.uk http://www.smu.ac.uk/research/index.php/andrea-liggins

drhowardriley, Head, School of Research and Postgradu-ate Studies. Research interests include: pedagogy of drawing; visual semiotics; generative art; relationship between drawing and dyslexia.Supervising PhD’s: Richard Monahan Indicators of Drawing Practice in Contemporary Art; Mark Cocks The Digital Shadow: Technological Interference with the Photographic Archive. howard.riley@smu.ac.ukhttp://www.smu.ac.uk/research/index.php/howard-riley

dr karen ingham, Reader in Art and Science Interactions and artist-theorist. Research interests: interdisciplinarity in art, science and technology and the history and philosophy of science; interdisciplinarity in lens-based arts; collaborations in art and anatomy and studies with an interest in embodiment theories, neurobiology and cognition; photography (practice and theory) and the photographic memento mori; history of medicine and medical humanities in conjunction with the arts; museology and taxonomy; digital film and creative writing.

Supervising PhD’s: Paul Woodland, The Divergent Gene: Bio-medical Discourses of the Sexed Body; Brett Aggersberg, An Investigation into the Paradigms of Electronic Art and their Impact on its Value in the UK; Laura Jenkins, Can Photography describe its own Event? Photography as Enigma in a Post-repre-sentational Erakaren.ingham@smu.ac.uk http://www.smu.ac.uk/research/index.php/karen-ingham

dr . robert a . newell, Associate Senior Lecturer in Fine Art and practitioner of painting and drawing concerned particu-larly with landscape. Research interests include the relationships between subjectivity and natural phenomena in ways that involve aesthetics, history of science, and metaphysics. Supervising Richard Keating, Landscape Interventions and Social Inclusion.robert.newell@smu.ac.uk http://www.smu.ac.uk/research/index.php/robert-newell

dr .andypenaluna has a research interest in early photographic image manipulation and, as Vice Chair of Enterprise Educators UK, actively contributes to international debates on creativity within business enterprise and entrepreneurship.andy.penaluna@smu.ac.ukhttp://www.smu.ac.uk/research/index.php/andy-penaluna

dr .pauljeff, Programme Director, MA Portfolio and Project Director IPCRESSpaul.jeff@smu.ac.uk http://www.smu.ac.uk/research/index.php/paul-jeff

dr anne price-owen. Supervising PhD’s: Eva Bartussek Waiting for Eurgolice: the Role of Patience in Photography; Anna Papadopoulou Origins of Creativity; Alun Reynolds A Critical Analysis of the Photographic Albums of Swansea Families; Alan Wray Form as Commemoration. anne.price-own@smu.ac.uk http://www.smu.ac.uk/research/index.php/anne-price-owen

beategegenwart, Head, School for Fine and Applied Arts. Research interests include: new vector- and image-based technol-ogies, examining their potential and impact on traditional crafts processes, particularly in the ‘fire arts’ of vitreous enamel and glass; the practice-based research investigates how new concepts, techniques and materials can enrich the field, predominantly through the innovative use of laser/water jet cut steel and intri-cately laser engraved vitreous enamel surfaces.beate.gegenwart@smu.ac.uk http://www.smu.ac.uk/research/index.php/beate-gegenwart

mark cocks, Head, School of Photography and Video. Cur-rently engaged in PhD research into the implications for HE learning, teaching and assessment of photographic chemical and digital practice. Other research interests include exhibition work that investigates the ongoing dialogue between the still and moving image mark.cocks@smu.ac.uk

georgia mckie, Senior Lecturer and Programme Leader, MA Textiles; research interests include: knitted textiles and subse-quent possible manipulations; digital textile processes; printed textiles for interiors and fashion; interested in ethical design and committed to freelance enterprisegeorgia.mckie@smu.ac.uk http://www.smu.ac.uk/research/index.php/georgia-mckie

Angela Maddock, Senior Lecturer with responsibilities for undergraduate contextual and historical studies programmes and supervision of dissertations; co-organiser of the Marking Space symposium in 2008 and editor of the symposium catalogue. angela.maddock@smu.ac.uk http://www.smu.ac.uk/research/index.php/angela-maddock

julia griffiths jones, Senior Lecturer, Surface Pattern Design. Currently completing a commission for The National Wool Museum, involving new work combining metalwork with digital print. Research interests include drawing, metalwork, textiles, printed books, and the interpretation of museum collec-tions. julia.jones@smu.ac.uk http://www.smu.ac.uk/research/index.php/julia-griffiths-jones

lindanottingham, Senior Lecturer, Surface Pattern Design. Research interests: hand dyeing and screenprinting; digital textile processes; needlepunching silk and wool; drawing baby garments from the 18th and 19th century collections held at The Museum of Welsh Life; evoking a sense of time, memory, presence and awakening through textile processes. linda.nottingham@smu.ac.uk http://www.smu.ac.uk/research/index.php/linda-nottingham

stephanie tuckwell, Senior Lecturer, Surface Pattern Design. Research interests include synthesis of diverse and mul-tilayered experiences of landscape, drawing together cartography, topography, weather mapping and representations of movement, gesture and form.stephanie.tuckwell@smu.ac.uk http://www.smu.ac.uk/research/index.php/stephanie-tuckwell

ainsley hillard investigates the physical and metaphorical construction of cloth and its relation to body, memory and space. Exploring a range of media, she combines traditional weaving with audio-visual technologies, print and photography to create site-specific installations. ainsley.hillard@smu.ac.uk http://www.smu.ac.uk/research/index.php/ainsley-hilard

bellakerr, Head of Foundation Studies. Bella.kerr@smu.ac.uk http://www.smu.ac.uk/research/index.php/bella-kerr

eilisho’donohoe, Foundation Studies. eilish.odonohoe@smu.ac.uk http://www.smu.ac.uk/research/index.php/eilish-odonohoe

hamishgane, Senior Lecturer, Photography. hamish.gane@smu.ac.uk http://www.smu.ac.uk/research/index.php/hamish-gane

jamesmoxey, CIRIC. james.moxey@smu.ac.uk http://www.smu.ac.uk/research/index.php/james-moxey

johnpaulevans, Senior Lecturer, Photography. john-paul@smu.ac.uk http://www.smu.ac.uk/research/index.php/john-paul-evans

ruthrobinson, Senior Lecturer, Photography. ruth.robinson@smu.ac.uk http://www.smu.ac.uk/research/index.php/ruth-robinson

philthomas, Senior Lecturer, Graphic Design. phil.thomas@smu.ac.uk

stevesullivan, Research Associate CIRIC. steve.sulliuvan@smu.ac.uk http://www.smu.ac.uk/research/index.php/steve-sullivan

suewilliams, Senior Lecturer, Fine Art. sue.williams@smu.ac.uk http://www.smu.ac.uk/research/index.php/sue-williams

timdavies, Programme Director, Fine Art. tim.davies@smu.ac.uk http://www.smu.ac.uk/research/index.php/tim-davies

peterfinnemore, Lecturer, Photography and Fine Art. peter.finnemore@smu.ac.uk http://www.smu.ac.uk/research/index.php/peter-finnemore

craigwood, Senior Lecturer Fine Art. craig.wood@smu.ac.uk http://www.smu.ac.uk/research/index.php/craig-wood

researchactivestaff23SwanseaMetropolitanUniversity//ResearchActiveStaff

professorkelvindonne, Dean of Faculty, Director of the Knowledge Transfer Centre in Cutting and Fabrication. Super-vising PhD’s: Sean Jenkins Thermographic metric of human-product interaction; Andy Baker Advanced spatial awareness within a real-time 3D environment; Said Alame Investigation into the degree to which common visual responses can be identified and correlated with musical stimuli. kelvin.donne@smu.ac.uk http://www.smu.ac.uk/research/index.php/professor-kelvin-donne

drianwalsh, Head, School of Industrial Design and Head, Welsh School of Architectural Glass. Research interests: the study of industrial design process as a driver for innovation. Direc-tor of the Cerebra Innovation Centre. Supervising PhD :Chris Thomas Design against Crime. ian.walsh@smu.ac.uk http://www.smu.ac.uk/research/index.php/dr-ian-walsh

dr vanessa cutler, Lecturer, Architectural Glass, UK’s leading authority on the creative uses of waterjet cutting for glass. Advisor to the American Waterjet Technology Association, on the board of the Society of Glass Technologists science and new researchers committee. In August 2010 she will be giving a master class at the British Glass Biennale and is a keynote speaker. Super-vising PhD: Shelley Doolan: Water-jet cutting for architectural applications. vanessa.cutler@smu.ac.uk http://www.smu.ac.uk/research/index.php/dr-vanessa-cutler drbarryip, Senior Lecturer in Digital Media. Research inter-ests include computer and video games design and the use of learning technology in higher education; narrative structures in video games, assessment procedures for computer games degrees, and a longitudinal study into video game quality. Supervising PhDs: Nick Hampton: Videogames- realism and the Uncanny Valley; Paul Hazel Narrative structures in e-learning; Martin Capey Virtual interactive three—dimensional environments: an aesthetic approach; Jonathan Clements An industrial history of Japanese animation. barry.ip@smu.ac.uk http://www.smu.ac.uk/research/index.php/dr-barry-ip

sean jenkins, Senior Lecturer, Industrial Design. Research interests: thermography as a tool for evaluating the physiological and emotional responses evoked in users during product interac-tion. Thermal imaging offers a highly accurate, non-contact and objective measurement tool for exploring the dynamics of user’s affective state during product interaction, adding depth to our understanding of the nature and quality of user experience and provide useful visual and statistical data for designers.sean.jenkins@smu.ac.uk http://www.smu.ac.uk/research/index.php/sean-jenkins

rodney bender, Research Fellow in Architectural Glass, founder and C.E.O of iGP Ltd, and invented KiloLux, a patented glass product first used in the Wales Millennium Centre. iGP has prototyped and manufactured glass product and artworks for a variety of applications and contexts. These include working with Jørn Utzon, architect of the Sydney Opera House, and a variety of prominent artists and designers. rodney.bender@smu.ac.uk http://www.smu.ac.uk/research/index.php/rodney-bender

chris bird-jones, Senior Lecturer in Architectural Glass. Research interests: Architectural applications of decorative pho-tovoltaic technology in architectural glass; gender -centric analy-sis of international architectural glass education, practice, applica-tion and expression. chris.bird-jones@smu.ac.uk http://www.smu.ac.uk/research/index.php/chris-bird-jones

henrylutman, Research Fellow in Computer Animation.henry.lutman@smu.ac.uk

paulhazel, Senior Lecturer, Digital Media. paul.hazel@smu.ac.uk http://www.smu.ac.uk/research/index.php/paul-hazel

martincapey, Head, School of Digital Media. martin.capey@smu.ac.uk http://www.smu.ac.uk/research/index.php/martin-capey

drrosshead, Cerebra Innovation Centre. ross.head@smu.ac.ukhttp://www.smu.ac.uk/research/index.php/dr-ross-head

drtyraoseng, Senior Research Associate. tyra.oseng@smu.ac.ukhttp://www.smu.ac.uk/research/index.php/dr-tyra-oseng

sergiofontanarosa, Senior Lecturer, Automotive Design. sergio.fontanarosa@smu.ac.uk

christhomas, Lecturer, Industrial Design. Currently engaged in PhD research into design against crime. chris.thomas@smu.ac.uk

andybaker, Senior Lecturer in Applied Computing. andy.baker@smu.ac.uk

ianwilliams, Senior Product Designer, IDEAS commercial product design centre. ian.williams@smu.ac.uk

sararees, Leverhulme Artist in Residence, Welsh School of Architectural Glass. sara.rees@smu.ac.uk

alun adams, Architectural Glass Centre (AGC). Research interests: glass restoration and conservation. alun.adams@smu.ac.uk

researchactivestafffacultyofapplieddesign&engineering

24 SwanseaMetropolitanUniversity//ResearchActiveStaff

National Museum WalesResearch underpins all the functions and the credibility of a National Museum. We have a pivotal role to play in the understanding of the heritage, culture and natural environment of Wales and its place in the world and supporting increasing public and popular interest in these areas. The National Museum’s research strategy focuses on new knowledge generated by the study of its collections, and projects where those collections provide key databases or resources. It is also a centre of excellence in new research and practice on the learning and interpretation processes involved in presenting collections to and interpreting them with different audiences.

Its research register covers all of the museum’s collecting areas, from biodiversity and earth sciences to social and industrial history. In the fields of art and design, key areas are European art, Modernism in Britain, the art of Wales, Wales industrial and applied art history, and contemporary practice in Wales. A wide range of research activities are underway, supporting the themes of our acquisition and exhibition programmes as well as other core activities. Research activity is fostered and monitored by a Research Board, which aims to ensure that research is directed in support of our Vision and resourced as well as it can be within our constrained budgets.

As the Museum is now recognised as an Independent Research Organisation by both the Arts & Humanities Research Council and the Natural Environment Research Council, research frameworks created for all our subject areas are being identified. We have put in place a new Research Policy and an overall Research Strategy, to support those areas where future research can be most usefully concentrated to support our programme of work.

Mae ymchwil yn sail i holl weithgareddau a hygrededd amgueddfa genedlaethol. Mae gennym ran allweddol i’w chwarae o ran deall treftadaeth, diwylliant ac amgylchedd naturiol Cymru a’i lle yn y byd, a chefnogi diddordeb poblogaidd cynyddol y cyhoedd yn y meysydd hyn. Mae strategaeth ymchwil Amgueddfa Cymru yn canolbwyntio ar gynhyrchu gwybodaeth newydd trwy astudio ei chasgliadau, a phrojectau lle mae’r casgliadau hyn yn darparu cronfeydd data neu adnoddau ar eu cyfer. Mae hefyd yn ganolfan ragoriaeth mewn ymchwil ac arfer newydd yn y prosesau dysgu a dehongli sydd ynghlwm wrth gyflwyno casgliadau i wahanol gynulleidfaoedd.

Mae ei chofrestr ymchwil yn cynnwys holl feysydd casglu’r Amgueddfa, o fioamrywiaeth a gwyddorau daear i hanes cymdeithasol a diwydiannol. Mewn celf a dylunio, y meysydd allweddol yw celf Ewropeaidd, Moderniaeth ym Mhrydain, celf Cymru, hanes diwydiannol a chelf gymwysedig Cymru, ac arfer cyfoes yng Nghymru. Mae amrywiaeth eang o weithgareddau ymchwil ar y gweill, sy’n cefnogi themâu ein rhaglenni caffael ac arddangos yn ogystal â gweithgareddau craidd eraill. Caiff gweithgaredd ymchwil ei feithrin a’i fonitro gan Fwrdd Ymchwil, sy’n ceisio sicrhau fod yr ymchwil wedi ei chyfeirio at gefnogi ein Gweledigaeth, ac yn derbyn cymaint o adnoddau ag sy’n bosibl o fewn ein cyllidebau cyfyngedig.

Gan fod yr Amgueddfa wedi ei chydnabod fel Sefydliad Ymchwil Annibynnol gan Gyngor Ymchwil y Celfyddydau a’r Pynciau Dyneiddiol a Chyngor Ymchwil yr Amgylchedd Naturiol, mae fframweithiau ymchwil yn cael eu creu ar gyfer ein holl feysydd llafur. Lluniwyd Polisi Ymchwil newydd a Strategaeth Ymchwil gyffredinol, er mwyn nodi’r meysydd lle byddai’n fwyaf buddiol canolbwyntio gwaith ymchwil y dyfodol i gefnogi ein rhaglen waith.

25NationalMuseumWales

researchthemesLife: understanding our planet and environments1. Origins: making sense of the present by putting 2. people in touch with their past.Belonging: representing peoples’ memories, cultural 3. experiences and what it means to live in 21st century Wales.Creativity: celebrating the creativity of art and 4. artist, inventor and invention and the ideas that have inspired our world.Futures: engaging with and debating issues that will 5. shape tomorrow’s world.Museum Practice6.

contact: Mike Tooby, Director of Learning, Programmes & Development Michael.Tooby@museumwales.ac.uk

oliverfairclough, Keeper oliver.fairclough@museumwales.ac.uk

andrewrenton, Head of Applied Artandrew.renton@museumwales.ac.uk

nicholasthornton, Head of Modern & Contemporary Artnicholas.thornton@museumwales.ac.uk

emilyo’reilly, Senior Paper Conservatoremily.o’reilly@museumwales.ac.uk

judipinkham, Senior Conservation Officer (Applied Art)judi.pinkham@museumwales.ac.uk

rachelconroy, Assistant Curator - Applied Artrachel.conroy@museumwales.ac.uk

bryonydawkes, Partnership Projects Curatorbryony.dawkes@museumwales.ac.uk

rebeccaellison, Oil Paintings Conservatorrebecca.ellison@museumwales.ac.uk

bethmcintyre, Curator (Prints & Drawings)beth.mcintyre@museumwales.ac.uk

melissa munro, Derek Williams Curator of Modern and Contemporary Art melissa.munro@museumwales.ac.uk

annepritchard, Assistant Curator - Historic Artanne.pritchard@museumwales.ac.uk

charlotte topsfield, Assistant Curator (Prints & Draw-ings) charlotte.topsfield@museumwales.ac.uk

researchactivestaff

Below: Richard Wilson, Dolbadarn Castle, about 1765

Right: Gwen John, A Corner of the Artist’s Room in Paris,

Oil on Canvass, 1907-9

26 NationalMuseumWales//ResearchActiveStaff

re-displayofcentreblockwestwinggalleries To plan and formulate ideas for redisplay of post-1950 works in the new West Wing Galleries. contact:oliver.fairclough@museumwales.ac.uk

sisley inenglandandwales Research of primary sources for Sisley’s visit to Wales and enhance understanding of two of his Welsh paintings in the museum’s collection. contact:charlotte.topsfield@museumwales.ac.uk

Re-display of miniatures collection Re-display and re-interpretation of the collection. Research into techniques and identify sitters. contact:emily.oreilly@museumwales.ac.uk

welsh ceramics Publication of ‘semi-popular’ book of Welsh ceramics in NMW collection and make new research available.contact:oliver.fairclough@museumwales.ac.uk

discovering t . leigh To expand knowledge of the portrait painter T. Leigh and the role he played in serving the gentry of Wales. contact:stephanie.robertsn@museumwales.ac.uk

continentalporcelainatnmg Raise awareness of collec-tion of continental porcelain by publishing for the first time a semi-popular book on museum’s continental porcelain collectioncontact:andrew.renton@museumwales.ac.uk

nmggalleryguideProduce a new edition of the 1990 gallery guide incorporating new research findings contact:andrew.renton@museumwales.ac.uk

francisplace(1647–1728):earlyimagesofwales To fully research 18 works on paper by Francis Place which form an important part of the collection being they are the earliest images of Wales carried out on the spot in 1678. contact:beth. mcintyrewales@museumwales.ac.uk

japannedtinplatedsheetironanditsconservation To investigate the techniques of Japanning employed by different factories to determine whether the surface deterioration is influ-enced by variations in the composition of the japanning lacquer. contact:judi.pinkham@museumwales.ac.uk

davidcox’soilpaintingtechnique To research works by Cox in NMW collection and discover more about Cox’s oil paint-ing techniques and working methods, and identify further oil paintings on paper.contact:rebecca.ellison@museumwales.ac.uk

richardwilson-furthertechnicalstudiesTo discover more about the materials and techniques of Richard Wilson, his contemporaries and followers contact:kate.lowry@museumwales.ac.uk

oxhorncups:survivalorrevivalTo compare 20 known examples, and investigate use, makers, details of manufacture and trace archival references to ox horn cups in Walescontact:oliver.fairclough@museumwales.ac.uk

theinfluenceofdylanthomasontheworkofceririchards To research the influence of the poetry of Dylan Thomas upon the work of Ceri Richards with a particular focus on works held in the Derek Williams Trust collection. contact:melissa.munro@museumwales.ac.uk

gwen john (1876-1939) To discover more about our works by Gwen John enabling better access to them for visitors to the Prints and Drawings study room and contribute to the ongoing redisplay of art galleries contact:beth.mcintyre@museumwales.ac.uk

the japannedwaresofpontypoolanduskDevelop a greater understanding of the japanned ware collection and create a thematic research framework to better understand the social context of this material contact:rachel.conroy@museumwales.ac.uk

piercedforms:henrymooreandbarbarahepworthin the 1930s To further understanding of Moore and Hep-worth at a key transitional phase in their careers. contact:nicholas.thornton@museumwales.ac.uk

thomasdaviesandthewelshpoolgoldcup To learn more about the life of Thomas Davies and the mechanisms of Welsh involvement in the early English empire contact:andrew.renton@museumwales.ac.uk

the‘écolede1830’intheac-nmwcollection Develop the understanding of the pre-Impressionist 19th-century French art collection, focusing on the contrasts between the academically accepted and the subversive Realist works. contact:anne.pritchard@museumwales.ac.uk

curatorialresearchinterests

Supper set, enamelled and gilded earthenware, Cambrian Pottery, Swansea, about 1800-10

27NationalMuseumWales//CuratorialResearchInterests

University of GlamorganDivision of Visual ArtWith a well established postgraduate teaching and research profile, the Communication, Cultural and media Studies Research Unit, (CCMS) has developed a lively postgraduate community. This is facilitated by Department of Media, Culture and Journalism Research Seminars and a close relationship with the Centre for the Study of Media and Culture in Small Nations. The unit is wide-ranging, encompassing research within communication, culture, media, journalism and film studies. Such work may draw on, or address, theory, history, policy, institutional, textual, critical and/or empirical analysis, and also practice.

Mae’r Uned Ymchwil Cyfathrebu, Diwylliant ac Astudiaethau’r Cyfryngau yn adnabyddus am ei haddysg ôl-raddedig a’i hymchwil, ac mae wedi datblygu cymuned ôl-raddedig fywiog. Hwylusir hynny gan Seminarau Ymchwil Adran y Cyfryngau, Diwylliant a Newyddiaduraeth a pherthynas glos gyda Chanolfan Astudio’r Cyfryngau a Diwylliant mewn Cenhedloedd Bach. Mae’r uned yn eang ei chwmpas, yn cynnwys ymchwil mewn cyfathrebu, diwylliant, y cyfryngau, newyddiaduraeth ac astudiaethau ffilm. Bydd y fath waith yn ymdrin â damcaniaeth, hanes, polisi, dadansoddi sefydliadol, testunol, beirniadol ac/neu empiraidd, ac arfer hefyd.

28 UniversityofGlamorgan

researchcentres

The Centre for the Study of Media and Culture in Small Nations was established by the University of Glamorgan in November 2006. Whilst the idea for a Centre which takes as its focus ‘small nations’ arose out of work on Wales, the intention is to include in its scope other small nations in the UK, Europe and beyond. Essentially, it is the process of globalisation and its corollary, localisation, and the impact that such developments have on media and culture in small nations that has prompted this initiative. The overall aim is for the Centre to produce research of the highest standard that has relevance both for Wales and other small nations, and which also has global significance.

The Visual Arts Research Unit is in the process of being formed and will take as its initial remit the need for col-laboration, cross- and inter-disciplinary approaches to research in art practices and their applications in Wales and beyond.

researchfields:Communication, Culture and Media Studies1. Film Studies2. Art and Design3.

contact: The Story Telling Centre http://storytelling.research.glam.ac.uk/about/ Small Nations http://culture.research.glam.ac.uk/about

centreforthestudyofmedia&cultureinsmallnations

visualartsresearchunit

franceswoodley Head of Division of Visual Art. My inter-ests lie in exploring the relationship between art practice, herme-neutics and art history in relation to pre-modern European paint-ings of still life and early modern English paintings of laid tables. An MA in Art History with the Open University completed in 2009 fostered an interest in the ambiguous depictions of foreign objects in Hogarth’s Marriage A-la-Mode. Since starting the MPhil at UWIC I have furthered this interest to include ways in which contemporary art practice makes use of such depictions. As Gadamer writes in Truth and Method past art and contem-porary understanding operate in a “fusion of horizons”. I suggest that processes of art that refer, defer and transpose the objects and laid tables depicted in these traditional works can accomplish

researchactivestaffunderstanding and transformation that go beyond the textual. The creation of new art from old thus presents new positions from which to interpret and alternative approaches to interpretation itself. fwoodley@glam.ac.uk

heatherparnell Award Leader, MA Art and Communities. I am a practicing artist with a long standing history of working in education, community and public contexts in Britain, Egypt and Italy, on residencies and commissions in education, healthcare and urban settings. From the outset, my work in this field has been led by a belief in the value and necessity for community engage-ment and participation in art practice as a means of self and collec-tive expression. Since 1999, I have collaborated with other artists,

architects, engineers and project teams in Wales and England to develop and realize public art projects as part of urban regenera-tion schemes. In the same year I founded the company parnell.mackie.rowe to further these interests. At present I am undertak-ing an MA in Art Practice at University of Glamorgan, exploring the capacity of materials and processes of art practice to elicit sensory responses in viewers and participants. In studio practice, I am using autobiographical experiences and autoethnographic methods as the springboard for my research which is informed by Maurice Merleau-Ponty’s thinking on phenomenology and the significance of embodied experience in the perception, reception and response to works of art. hparnell@glam.ac.uk

Right: Dan Allen, Self-portrait with Chair, Ceramic & Glass, 2007

Below Left: Jan Bennett, Still from Head Projection, 2009

Below: Heather Parnell, Three Dresses, Installation, 2009

29UniversityofGlamorgan//ResearchCentres

carol hiles Award Leader MA Arts and Health. I am inter-ested in the discourse between public and private arts practice particularly within the field of arts and health, specifically the relationship between artists’ practice within healthcare settings and other contexts. Accompanying the drive to advocate and extend arts and well-being initiatives within the UK is the need to strengthen the evidence base, to demonstrate the positive role of the arts in health through qualitative and quantitative research including the use of clinical models to prove its efficacy. How is research in the field informing and colouring the creative work of the artist both directly and through the work of commissioning agencies, NHS Trusts and the development of arts and well-being strategies? How is the artist’s language mediated in the shift from studio or gallery to the healthcare environment? What taboos and means of sublimation (external and internal) might be in place to effect and alter the artist’s voice? I am engaged in examining these questions through practice led research and case study analysis. chiles@glam.ac.uk

ingaburrows Senior Lecturer in Film Studies. Inga’s research is practice based, the materials she works with digital video, archive, light projection, site and memory story. The three large-scale installation projects she has completed have involved com-munity participation. She has collaborated with critical theorist Dr Katja Krebs (University of West of England) on a number of publications, which discuss the process of producing participa-tory art works. Recent projects include dissemination of research findings on poverty issues in collaboration with South Riverside Development Centre and Oxfam, Wales, and the production series of four short films in collaboration with The National Dance Company of Wales, Cardiff Council and three primary schools. Inga is currently developing an audio visual work ‘Nurture Watch’, drawing on Victor Burgin’s concept of ‘elastic time’. Iburrows@glam.ac.uk

dr ceri thomas University of Glamorgan, Curator. I am employed as a 0.6 curator at the University of Glamorgan, Ponty-pridd, where I founded and ran the Zobole Gallery from 2002 to 2007. Currently, I run the Orielau y Bont Galleries and the Uni-versity of Glamorgan Art Collection Museum within the same institution. My research specialism is the visual culture of south Wales since 1945 and within this area I am particularly interested in: the imaging of place; the exhibition, gallery space and art col-lection as research tools and parts of the eco-museum; the role of the curator as place-specific, creative researcher. My recent pub-

lications have been on the painters Joan Baker (2009), Ken Elias (2009) and Ernest Zobole (2007) and on the artist collective The Welsh Group (2008) and I have curated major exhibitions on all four of these subjects. In 2007, I was awarded an Arts Council of Wales Individual Production Grant to curate, research and coordinate the ‘Mapping the Welsh Group at 60 / Mapio’r Grŵp Cymreig yn 60’ project which included studio visits to forty con-temporary artists working in a variety of media. I am planning a conference in 2011 on the imaging of south Wales since 1910.

chris nurse Award Leader MA Art Practice. My research interests are practice based and interdisciplinary in that I use painting, printmaking and object making in the production of my work. Recently I have been taking prints from bits of plastic or cardboard packaging and turning them into paper models of tele-visions from which I can then draw and paint. I am interested in the language of representation and the difference between the real and the simulacrum. When we see visual images our impression of them is filtered through our internal memory banks of count-less other images. On looking at a rough and ready version of a thing by a non-artist, a child or an outsider artist, a space for the imagination opens up between the real object and its represen-tation. Scarecrows, snowmen, dolls, models made from food or junk populate a landscape I want to vividly recreate so that they become almost alive in the fictional world. cnurse@glam.ac.uk

jan bennett Part-time Lecturer. Jan Bennett’s practice-based doctoral research project - Scientists, Monsters and Other Allies: Hybrid Becomings in Contemporary Art, is concerned with the representation of genetically and technologically modified humans within contemporary visual art practice and popular and scientific media. The study examines their respective roles in forming public opinion, as well as in educating readers and viewers in relation to potential and developing technologies; comparing and contrasting the context for and objectives of artists and scientists in relation to biotechnology. Through the production of artworks which seek to participate in and chal-lenge the opposition between progress and transgression in art and science, the project investigates how these oppositions relate, conflict and intersect. The purpose of the study is to demonstrate through both theory and practice, the ways in which the critical intersection between art and science informs our understanding of human being and human becoming. exquisitecorpse@btinternet.com

danielallen Award Leader BA Art Practice. Currently study-ing a PhD at Bath Spa University my main research interests focus on the cognitive decoding of both figurative and non-figura-tive portraiture. I have also participated in a number of research projects spanning broader concerns within the visual art and design fraternities. In recent years I have been the recipient of two research grants. In 2007 I worked collaboratively with col-leagues in the division of Design at the University of Glamorgan to produce an interactive and automated brain theatre. Last year I worked in association with the National Museum of Wales on a series of projects exploring the relationship between artist and collections. Having received substantial external funding we were able to run three, three-month artist residencies culminat-ing in a major exhibition and book publication exploring the role of the modern museum. Running in parallel to the culmination of the Artist-Object Project I convened an international four day conference, September 2009. ‘The Go Between’ brought artists, curators and academics together to examine the role of artist as intervener between museum collections and audiences. I am currently editing volume two of ‘the go between¹ book and inter-active dvd; collating academic papers and keynote presentations from the conference. dallen@newport.ac.uk

Chris Nurse, Paint Factory, 2008

30 UniversityofGlamorgan//ResearchActiveStaff

Glyndŵr UniversityGlyndŵr University achieved full university status in 2008. In the same year, the publication of the latest Research Assessment Exercise showed that the University had already established an internationally recognised research profile in six subject areas including Art and Design.

The research, of which over 50% was adjudged to be of International standard, is undertaken in eight Research Centres, which provide focus and leadership, and ensures that a critical mass of expertise is achieved, including the Research Centre for Art and Design and the Centre for Pedagogical Research.

Contact: Dr. Peter Heard, Director of Graduate Studies p.heard@glyndwr.ac.uk

Enillodd Prifysgol Glyndŵr statws prifysgol llawn yn 2008. Yr un flwyddyn dangosodd canlyniad yr Ymarferiad Asesu Ymchwil (RAE) diweddaraf fod y Brifysgol eisoes wedi sefydlu proffil a gydnabyddir yn rhyngwladol mewn chwe maes, yn cynnwys Celf a Dylunio.

Gwneir y gwaith ymchwil, y barnwyd fod mwy na 50% ohono o safon ryngwladol, mewn wyth Canolfan Ymchwil, sydd yn cynnig ffocws ac arweinyddiaeth, ac yn sicrhau y cynhyrchir màs critigol o ran gwybodaeth arbenigol, yn cynnwys y Ganolfan Ymchwil ar gyfer Celf a Dylunio a’r Ganolfan ar gyfer Ymchwil Addysgol.

Cysyllter â: Dr. Peter Heard, Cyfarwyddwr Astudiaethau Graddedigionp.heard@glyndwr.ac.uk

researchgroupscentreforpedagogicalresearch(cpr)The Centre’s main aim is to promote the development of pedagogical research and scholar-ship, nationally and internationally, as well as to co-ordinate activity across the University in this area. CPR’s research crosses disciplinary and professional boundaries, reflecting the increasing emphasis on relationships between research, scholarship, learning and teach-ing, and how these underpin and inform curriculum development and enhancement. The Centre also supports Glyndŵr Universities Continuing Professional Development (CPD) programme for academic staff.

The Centre focuses mainly on the development and enhancement of research-informed curricula and pedagogical practice in higher education, but its members have also under-taken a substantial amount of research in pre-16 education, and in informal and continuing education. CPR has engaged actively with policy makers, professional practitioners and research users.

contact: p.bassett@glyndwr.ac.uk

researchcentreforart&design(rcad)The Centre has a strong focus on collaborative and interdisciplinary research, and sup-ports applied research and knowledge transfer across the sector. Members of the Centre have published and exhibited internationally, and have received major national commis-sions, such as for Terminal 5 at Heathrow Airport and from WAG for the development of advanced prototypes for exhibitions and display systems using new technologies for poly-styrene production.

Professor Ian McLaren is Head of the School of Education where RCAD is based and a member of the Peer Review College of the Arts and Humanities Research Council. He is also Education Editor for the international graphic arts journal “Baseline”.

contact: p.heard@glyndwr.ac.uk

31GlyndwrUniversity//ResearchGroups

andy penaluna Andy’s doctorate examined the origins of photographic image manipulation and previously unrecorded airbrush history. He is a research-active member of the National Council for Graduate Entrepreneurship (NCGE) and the Insti-tute of Small Business and Enterprise (isbe). andy.penaluna@smu.ac.uk 07836 360 834

anniegrove-white My research activities span different areas: from pedagogic research into students’ experience and under-standings of the relationship between theory and practice, to staff perceptions of the use and development of IT in art and design (LTSN supported project). agwhite@uwic.ac.uk, 02920416631

cathroche The integration of theory through creative practice. The relationship between artwork and environment / space. The relationship and dialogue between artefact and artwork. The role of maker as curator. cath.roche@colegsirgar.ac.uk, 01554 748211, 0781 3843311 cerysalonso Whilst I teach across several programmes includ-ing FdA Art and Design, BA(Hons) Applied Arts and MA Con-temporary Applied Arts, I am the Programme Leader for: FdA Art and Design, FdA Art and Design for Landscape and FdA Digital Media Design and Production. FdA Art and Design is also fran-chised to Coleg Menai and Coleg Llandrillo as well as delivered at Glyndwr University. I have developed and validated several pro-grammes at Glyndwr and have been an external panel member for other validation events across the country. c.alonso@glyndwr.ac.uk, 01978 293519

drderekstears BA., DipCDAE., M.Ed., PhD. Main research interests preparing a book provisionally called ‘Art Inform’ for Pearson Education (likely publication date October 2010) inves-tigating UK qualifications in art and design for secondary educa-tion, for PGCE and subject specialist readership. The key areas of concern are critical studies and visual culture. Currently working on an interactive website as part 2 of the book. janederekstears@supanet.com, 02920513195

dr steve gill Steve is a Fellow of the Higher Education Academy and a Teaching Fellow of the University of Wales Insti-tute, Cardiff and Coordinator of Programme for Advanced Inter-active Prototype Research (PAIPR). He has also worked with a number of major industry partners (Samsung Europe, Sony Ericsson, Kinneir Dufort Design, Alloy Total Product Design) to develop new methods of rapidly prototyping complex computer-embedded products with user interfaces since 2003. sjgill@uwic.ac.uk, 0292041 6732/6606

emmamarshman The Higher Education Academy. The role of graphic design for the Creative & Cultural Industries in Wales - Is it informing curriculum design in Higher Education or stifling it? ejmarshm@glam.ac.uk, 01443 668542 ingridmurphy Currently undertaking a Learning and Teaching Development Unit funded project exploring advanced techno-logical learning strategies applied to the delivery of skills teach-ing in ceramic processes. Interested in undertaking research in to how creativity is taught in material based disciplines and how blended learning and specific learning environments may affect this. imurphy@uwic.ac.uk, 029 20416343

janedavison Currently undertaking a PhD investigating inter-disciplinary learning in higher education and the relationship between policy and practice in higher education. jane.davison@newport.ac.uk, 077147 12543

tracy pritchard’s research has mainly been in the area of pedagogy concentrating on theory and practice, however during the past year she has conducted a research project looking at the effects both positive and negative on the impact that international exchange students have on the workroom environment. tpritcha@glam.ac.uk

ruthdineen’s main research field is in the promotion of cre-ativity in education internationally. Has undertaken a compara-tive project with Sichuan Institute in China leading to an exhi-bition and public seminar about creative education held in the UK and China (April 2007). Instigated the HEA ‘Creativity or Conformity’ conference which UWIC hosted in January 2007. rdineen@uwic.ac.uk, 02920 416633 stevenkeegan Keegan’s researches have two interwoven ele-ments underpinning his practice; firstly, the historical use of figures in literature and visual arts and secondly the study of enhanced curricula activity through industrial partnerships, commissions and competitions. s.keegan@glyndwr.ac.uk, 01978293522

drgarym .pritchard is currently engaged in developing the theme of his doctoral thesis, ‘strengths-based education’, which encourages students to focus on developing their talent and strengths as their primary motivation. gary.pritchard@newport.ac.uk, 01633 432175, 07738 198889

researchpartners

Existing WIRAD ResearchCreative PedagogiesThe starting point for this research theme is art & design pedagogy. The commitment to individual creativity which underpins art & design education, particularly at HE level, has encouraged the emergence of radical and effective teaching and learning strategies which are frequently in advance of theoretical models drawn from studies in psychology, sociology and general education. Here staff are exploring the extent to which art & design strategies are supported by theoretical and/or action research studies, looking at the cross-disciplinary and cross-cultural potential of best-practice in the sector.

One of the first initiatives arising from the new Creative Pedagogies Theme is a scoping project to determine the feasibility of setting up a Welsh Centre for Creative Teaching & Teaching Creativity. This would initially focus on art and design and would be part of the wider WIRAD dissemination and engagement aspirations.

32 ExistingWIRADResearch

drstephenthompson’s main research field is the philosophi-cal and pedagogical implications of emerging technologies and emerging design practices. sthompson@uwic.ac.uk, 02920 416308

markcocks PhD research into the implications of chemical and digital technology on the learning, teaching and assessment of photographic degree students. mark.cocks@smu.ac.uk, 01792 481021

sion hughes Most recently Sion has played a key role for Glyndwr University developing international collaborative rela-tionships. This is now his main research interest, in particular, pedagogically-based research which explores the issue of how to develop teaching and learning strategies which effectively nurture creative thinking and innovative visual and material based prob-lem-solving within diverse and cross cultural scenarios. s.hughes@glyndwr.ac.uk, 01978 293501

chris glynn Glynn has been engaged in creative pedagogy across the arts since 1986 when he took a PGCE at Goldsmiths College under Dame Janet Ritterman, specialising in connections between music, drama and visual art. cglynn@uwic.ac.uk, www.csad.uwic.ac.uk/illustration, 029 20417085

ruthmatheson, MSc, Dip COT, CMS, FHEA has a particular research interest in human creativity and has undertaken research on the promotion of creativity through problem-based learning;

other research interests include the development and assessment of reflection, all aspects of learning and teaching, and the impact of occupation of health and well-being. rmatheson@uwic.ac.uk, 029 20201535

drkateetaylor Representation of the body in cinema, dance, theatre and art: with special reference post-modern and Feminist visual theory; Women and Visual Culture: including French, British and American directors; feminist film theory and the role of women in film and cultural history; Globalisation and Visual Cultures: with particular emphasis on Japan, South Korea and the representation of Women and other minority groups; Visual cultures and Arts of East Asia: history, theory, development and culture with special reference to questions of Nationhood and Post-war Trauma. cos601@bangor.ac.uk, 01248 383656

paulcroft The integration of studio-based research - primarily concerned with lithographic practice and collaboration - into the pedagogical environment and research into the interfacing tech-niques of stone lithography and computer-generated drawing. puc@aber.ac.uk, 01970 622460, 07950 490154, www.paulcroft.org desdemona mccannon I have a strong interest in analogue design solutions, the importance of craft and making in the design process, designers as producers, how innovation and entrepe-neurship can be fostered in design education and the primacy of drawing and strategies to express non verbal thinking. d.mccannon@glyndwr.ac.uk, 01978 293 528

jowalter Interests include organisational culture and change, communities of practice and collaborative working. jo.walter@smu.ac.uk, 07828 490502

andyroberts Andy’s research area is understanding the student as an individual: his PhD looked at how cognitive styles and other individual differences affected students performance in architec-tural design project work and his current research focuses on how we might encourage students to engage in reflective practice, and is looking at how individual differences might impact upon this. robertsas@Cardiff.ac.uk, 029 2087 4602

james ison My practice has evolved in the space between tra-ditional workshop craft and fine art textiles, and explores the tactile qualities of objects and materials in relation to the body; my current research project, Boys don’t make ball gowns, son, unpicks the notion of the gendered pathway within the textiles discipline of art education. jison@uwic.ac.uk, 029 2041 6291

Clive Landen, from the series, Space Invaders, 2005 (ongoing)

33ExistingWIRADResearch//ResearchPartners