Dr Robert Christian Pepperell
FRSA
Born: London, 27th
October, 1963
University address:
Robert Pepperell
Professor of Fine Art
Head of Fine Art
Cardiff School of Art and Design
University of Wales Institute Cardiff
Howard Gardens
Cardiff CF24 0SP
College email: rpepperell@uwic.ac.uk
Home email: pepperell@ntlworld.com
Education:
2009 University of Wales,
PhD.
1986-88 Slade School of Art,
University College, London.
1983-86 Newport School of
Art, 1st class BA(Hons) in Fine Art.
1982-83 Gloucestershire
College of Art and Technology, Cheltenham. Foundation diploma.
1975-82 Cheltenham Grammar
School, Gloucestershire. 9 O-Levels and 3 A-Levels.
Teaching experience:
2006-to date. Head of Fine
Art, Cardiff School of Art and Design, University of Wales Institute Cardiff.
Responsible for leading BA (Hons) Fine Art department, MA Fine Art tuition and
PhD supervision.
2004-2006. Senior Lecturer in
Fine Art, School of Art & Performance, University of Plymouth.
Responsibilities included leadership of painting and print department. research
group co-ordination, undergraduate and postgraduate teaching and PhD/MPhil
supervision.
1999-2006. Senior Lecturer,
School of Art, Media and Design, University of Wales College, Newport.
Responsibilities included MA Fine Art programme leadership, research group
co-ordination, undergraduate teaching in Fine Art, Design and MPhil/PhD
supervision. Academic management tasks include course writing, validation and
marketing.
1988-90. Visiting Lecturer at
Leicester Polytechnic, BA Fine Art.
1986-88. Visiting Lecturer at
Newport School of Art, BA Fine Art.
Current positions:
Fellow of the Royal Society
of Arts
Member of the Higher
Education Academy
Member of the Association for
the Scientific Study of Consciousness.
Member of the British
Psychological Society
Member of the International
Society for Arts, Sciences, and Technology
Member of the Performing
Rights Society
Member of the International
Association of Experimental Aesthetics
2005-2008 Advisory panel
member for Kinetica Museum of Kinetic, Electronic and Experimental Art, London
2000-2008 Associate Editor
and web manager of Leonardo Reviews, the International Society for Arts,
Sciences, and Technology
Books, chapters and
peer-reviewed articles:
Pepperell, R. (in press) ÔArt
Connections to Literature and ScienceÕ, in The Routledge Companion to Art,
Literature and Science. London: Routledge.
Pepperell, R. (2009). ÔThe
Conscious Act of Looking at a PaintingÕ in Consciousness Literature and the
Arts, Vol. 10 No. 2.
Pepperell, R. (2009). ÔAn
Information SublimeÕ, editorial in Leonardo, Vol. 42 No. 5.
Pepperell, R. (2009). 'Art
and the fractured unity of consciousness' in New Realities: Being Syncretic
Consciousness Reframed: The Planetary Collegium's IXth International Research
Conference Series: Edition Angewandte. Ascott, R.; Bast, G.; Fiel,
W.; Jahrmann, M.; Schnell, R. (eds.).
New York, Vienna: Springer.
Wallraven, C., Kaulard, K.,
KŸrner, C. and Pepperell, R. (2008). In the Eye of the Beholder: The Perception
of Indeterminate Art. Leonardo Vol. 41, No. 2.
Wallraven, C., Kaulard, K., KŸrner, C., Pepperell, R and BŸlthoff, H.
(2007). Psychophysics for perception of
(in)determinate art. In APGV 2007. New York, NY: ACM Press, pp. 115–122.
Pepperell, R. (2007). Art,
Perception and Indeterminacy. Journal of Contemporary Aesthetics, Volume 5.
Pepperell, R. (2007). Manifesto
del Posthumano. Dopo lÕumano, Kainos 2. Milano: Ediziono Punto Rosso.
Ishai, A., Fairhall, S. &
Pepperell, R. (2007) Perception, memory and aesthetics of indeterminate art. Brain
Research Bulletin, Volume 73, Issues 4-6, pp. 319-324.
Pepperell, R.
(2007). Posthumanismi manifest. Vihik: Journal of the Estonian
Literary Society. No. 12: 14-24. Tartu: Eesti Kirjanduse Selts.
Pepperell, R. (2007). Putting
Art to the Test. Dialogue, Issue 2. Axis Publications.
Pepperell, R. (2007). Applications
for Conscious Systems. AI & Society. Volume 21:3.
Pepperell, R. (2006). Seeing
Without Objects: Visual Indeterminacy and Art. Leonardo. Vol. 39:5.
Pepperell, R and Punt, M.,
(eds) (2006). Screen Consciousness: Mind, World and Cinema. Amsterdam/New
York: Rodopi.
Pepperell, R. (2005). Towards
a Conscious Art. in Ascott, R. (ed.) (2005) Engineering Nature: Art and
Consciousness in the Post-Biological Era. Bristol: Intellect Books.
Pepperell. R. (2005).
Consciousness and the Screen. In Consciousness Literature and the Arts. Cambridge
Scholars Press: Cambridge.
Pepperell, R. (2005). Visual
Indeterminacy. In Proceedings of Altered States: transformations of
perception, place, and performance. University of Plymouth.
Pepperell, R. (2005).
Posthumans and Extended Experience, Journal of Evolution and Technology. (Volume 4, 1).
Pepperell, R. (2004). Towards
a Self-Aware Art. Consciousness, Literature and the Arts, (Volume 5,
4)
Pepperell, R. (2004). The
Applications of Self-Aware Systems. Proceedings of the First International
Conference on Usability and Engagability, Birmingham: University of
Central England.
Pepperell, R. and Punt, M.,
(2003). Art at the Boundary of Science and Consciousness. In: Remote. Ed.
Emma Posey. Cardiff: Bloc Press.
Pepperell, R. (2003). Towards
a Conscious Art, Technoetic Arts. (Volume 1,2)
Pepperell, R. (2003). The
Posthuman Condition: Consciousness beyond the brain. Bristol: Intellect Books.
Pepperell, R. (2003). The
Posthuman Condition. 5 Magazine, Exeter: Permanent Gold.
Pepperell, R. (2002).
Computer Aided Creativity: Practical Experience and Theoretical Concerns. Paper
delivered and proceedings of Creativity and Cognition 2002. New York: ACM
Press.
Pepperell, R. (2000). The
Posthuman Conception of Consciousness. In: Art, Technology and
Consciousness: Mind at Large. ed. Roy Ascott. Bristol: Intellect Books.
Pepperell, R. and Punt, M.
(2000 and 2003). The Postdigital Membrane: Imagination Technology and Desire. Bristol:
Intellect Books.
Pepperell, R. (1995 and
1997). The Posthuman Condition. Oxford: Intellect Books.
Conference papers,
articles, invited talks and peer-reviewed posters:
(2009) Art, indeterminacy
and non-noduality. Science and Non-Duality Conference. San Francisco, USA.
Ishai A., Wiesmann M.,
and Pepperell R. (2009). Training Facilitates Object Perception in Cubist
Paintings. The 16th Annual Meeting of the Cognitive Neuroscience Society, San
Francisco.
Ishai A., Wiesmann M.,
and Pepperell R. (2009). Training Facilitates Object Perception in Cubist
Paintings. 15th Annual meeting for the Organisation of Human Brain Mapping, San
Francisco.
Ishai A., Wiesmann M.,
and Pepperell R. (2008). Training Facilitates Object Perception in Cubist
Paintings. 17th Annual Meeting of The Israel Society for Neuroscience, Eilat.
(2008). Art and the
Fractured Unity of Consciousness. Consciousness Reframed 2008, Vienna.
(2007). Posthumanism and the challenge of new ideas. Catalogue text for Hylozoic Soil exhibition by Phillip Beesley, e-art: New
Technologies and Contemporary Art, Montreal
Museum of Fine Art, 2007.
(2007). From the Human to
the Posthuman. Conference of the Science, Technology & Culture Research Group,
University of Nottingham.
(2007). Reflections on
Looking at a Painting. 11th Annual Conference of the
Consciousness and Experiential Psychology Section of the British Psychological
Society, Oxford.
(2007). Conscious
Awareness of Objects in Indeterminate Art
Fairhall, S., Pepperell, R. &
Ishai, A. Association for the Scientific Study of Consciousness Annual
Conference 11, Las Vegas.
(2007). Psychophysics for Perception of (In)determinate Art. Wallraven, C.,
Kaulard, K., KŸrner, C., Pepperell, R and BŸlthoff, H.. Applied Perception in
Graphics and Visualisation Symposium, Max Planck Institute.
(2007). In the Eye of the Beholder—Perception of Indeterminate
Art. Wallraven, C., Kaulard, K., KŸrner, C., Pepperell, R and BŸlthoff, H.
International Symposium on Computational Aesthetics in Graphics, Visualization,
and Imaging. Canada.
(2007). The Future of Art. Kinetica Museum, London.
(2007). The Conscious Act of Looking at a Painting. Art and Science
Week, University of Exeter.
(2007). Art and Perception. School of Psychology,
Cardiff University.
(2006). Mind-Machine-Art. Inaugural lecture, Kinetica
Museum, London.
(2006). Object indeterminacy in art compositions, with Ishia, A.
and Fairhall, S. Society for Neuroscience Annual Meeting, Atlanta.
(2006). An Interdisciplinary Study of Visual Indeterminacy in
Painting, with Ishia, A. and Fairhall, S. European Conference on Visual Perception,
St Petersburg, Russia.
(2006). An Interdisciplinary Study of Visual Indeterminacy, with Ishia, A.
and Fairhall, S. The Association for the Scientific Study of Consciousness 10th
International Conference, University of Oxford.
(2006). The Future of Humanity. Chair of Royal Society of
Arts Lecture, London.
(2006). Seeing and Knowing. Department of
Neuroradiology. University of Zurich.
(2006). Visual
Indeterminacy and Art. Max Planck Institute for Biological Cybernetics,
TŸbingen, Germany.
(2006). Art and Perception. Science in the
Dock – Art in the Stocks, National Science Week, Exeter University.
(2005). Mind, World and
Paradox. Reconstructing Mind and Body Conference, British Psychological Society,
University of Oxford.
(2005). The Fullest Possible
Use: Applications for Self-Aware Systems. Wearable Futures Conference,
University of Wales.
(2005). Visual
Indeterminacy and Paradox. Altered States Conference, University of Plymouth.
(2005) Screens,
consciousness and paradox. Delivered to the Consciousness, Literature and the
Arts Conference, University of Aberystwyth.
(2005). Consciousness and
Cinema. Delivered to Interfacing Theory and Practice, University of Exeter.
(2004). The Self-Aware
Image in the Wireless Obscura, New Forms Conference, Vancouver.
(2004). Extended Minds and
Conscious Artifacts. Delivered to the Theatres of Science Conference,
University of Glamorgan, UK.
(2004). The Applications
of Self-Aware Systems. Delivered to the First International Conference on
Usability and Engagability, UCE, UK.
(2004). Art and
Reflexivity. Delivered to the Society for Literature and Science Conference, Paris.
(2004). The Paradoxes of
Consciousness. Delivered to the Society for Literature and Science Conference, Paris.
(2003). Interdimensional
Images. Delivered to the Society for Literature and Science Conference, Austin,
Texas.
(2003). Towards a Theory
of Conscious Art. Delivered to the Towards a Science of Consciousness
Conference 2003, Between Phenomenology and Neuroscience, Prague, Czech Republic.
(2003). Towards a Theory
of Conscious Art. Delivered to Consciousness Reframed, CAiiA
Conference, UWCN.
(2003). Towards a Theory
of Conscious Art. Delivered to the Consciousness and Experiential
Psychology Section of the British Psychological Society Annual Conference, St.
AnneÕs College, Oxford.
(2002). Computer Aided
Creativity: Practical Experience and Theoretical Concerns. Delivered to
Creativity and Cognition 2002. University of Loughborough.
(2002). Art at the
Boundary of the Science of Consciousness. Towards a Science of
Consciousness, Tucson, USA.
(2001). At the Interface
of Consciousness: The Postdigital Membrane. in Towards a Science of
Consciousness: Consciousness and its Place in Nature, Skšvde, Sweden:
University of Skšvde.
Research degree
completions:
An investigation
into the fluidity and stability of the ÔScreenPageÕ in new media with
particular reference to OuLiPo-ian techniques. Phillip Ellis, January
2007, (MPhil), University of Plymouth.
Military Themes in
the work of Marcel Duchamp, Kieran Lyons, June 2007, (PhD),
University of Wales, Newport.
Refiguring the
'spiritual dimension' of cinema in the 'human apparatus'. Martha
Blassnigg, July 2007, (PhD), University of Wales, Newport.
Artefacts, technicity and humanisation: Industrial Design and the
problem of
anoetic technologies. Stephen
Thompson, July 2008. (PhD). University of Plymouth.
The Transparent Act: A New
Model of Media Art Practice. Brigitta Zics, November 2008 (PhD). University of Wales, Newport.
Scholarly reviews:
(2006). Association for
the Scientific Study of Consciousness 10th International Conference,
University of Oxford. Leonardo Vol. 40 No. 1. MIT
Press.
(2005). The
Psychology of Art and the Evolution of the Conscious Brain by Robert Solso.
Leonardo Vol. 38 No. 5. MIT Press.
(2005). Beyond the Limits of Thought by Graham Priest. Leonardo
Vol. 38 No. 4. MIT Press
(2005). Essential Sources in the Scientific Study of
Consciousness. ed Bernard Baars. Leonardo Vol. 38 No. 1. MIT Press
(2004). Spectral Evidence:
The Photography of Trauma by Ulrich Baer. Leonardo Vol. 37 No. 5. MIT Press.
(2004). Philosophizing Art:
Selected Essays by Arthur C. Danto. Leonardo Vol. 37 No. 5. MIT Press.
(2004).
Seeing/Hearing/Speaking by Takahiko iimura. Technoetic Arts, 2:1.
(2004). Potential Images:
Ambiguity and Indeterminacy in Modern Art by Dario Gamboni, Leonardo Vol 37 No.
3. MIT Press.
(2004). HusserlÕs
Phenomenology by Dan Zahavi, Leonardo Vol 36 No. 4. MIT Press.
(2004). Einstein Picasso:
Space, Time, and the Beauty that Causes Havoc by Arthur I. Miller and Inner
Vision: An Exploration of Art and the Brain by Semir Zeki, Leonardo Vol 37 No.
3. MIT Press.
(2004). Frankenstein:
Penetrating the Secrets of Nature by Susan E. Lederer. Leonardo Vol 37 No. 2.
MIT Press
(2004). Fantasies of Fetishism: From Decadence
to the Post-Human by Amanda Fernbach, Leonardo Vol 36 No. 2. MIT Press.
(2003). Between Phenomenology
and Neuroscience. Journal of Consciousness Studies, (Volume 10:11).
(2003). From Energy to
Information: Representation in Science and Technology, Art, and Literature by
Bruce Clarke and Linda Dalrymple Henderson Leonardo Vol 37 No. 1. MIT Press
(2003). What is it to be
Human? What Science can and cannot tell us by Kenan Malik, Leonardo Vol 36 No.
4. MIT Press.
(2003). Body and World by
Samuel Todes, Leonardo Vol 36 No. 4. MIT Press
(2003). Where the Action Is:
The Foundations of Embodied Interaction by Paul Dourish, Leonardo Vol 36 No. 3.
MIT Press
(2003). The Metaphysics of
Beauty by Nick Zangwill, Leonardo Vol 36 No. 2. MIT Press.
(2003). Culture in Practice:
Selected Essays by Marshall Sahlins, Leonardo Vol 36 No. 1. MIT Press
(2002). The Body/Body
Problem: Selected Essays by Arthur C. Danto, Leonardo Vol 35 No. 4. MIT Press.
(2002). Art, obsession and
possession: Is Freud is still interesting? A review article, Leonardo Vol 35
No. 4. MIT Press.
(2002). Metaphors of Memory:
A history of ideas about the mind by Douwe Draaisma, Leonardo Vol 35 No. 3. MIT
Press
(2002). Music and Memory: An
Introduction by Bob Snyder, Leonardo Vol 35 No. 3. MIT Press.
(2002). I levitate. WhatÕs
Next... Ed. Aleksandra Kosti, Leonardo Vol 35 No. 2. MIT Press.
(2002). How to Build a Mind:
Toward Machines with Imagination by Igor Aleksander, Leonardo Vol 35 No. 2. MIT
Press.
(2002). Playtime by National
Health and Barcode Music by GŸnter Schroth, Leonardo Vol 35 No. 2. MIT Press.
(2002). Global Interests:
Renaissance Art between East & West by Lisa Jardine and Jerry Brotton,
Leonardo Vol 35 No. 1. MIT Press.
(2002). Robosapiens by Faith
DÕAluisio & Peter Menzel, Leonardo Vol 35 No. 1. MIT Press.
(2002). New Wombs: Electronic
Bodies and Architectural Disorders by Maria Luisa Palumbo, Leonardo Vol 35 No.
1. MIT Press
(2002). The Life of a Style:
Beginnings and Endings in the Narrative History of Art by Jonathan Gilmore,
Leonardo Vol 35 No. 1. MIT Press.
(2001). Teleporting an
Unknown State by Eduardo Kac, Leonardo Vol 34 No. 2. MIT Press.
(2000). Africa: Art of a
Continent ed. Tom Phillips, Leonardo Vol 33 No. 2. MIT Press.
(2000). The Alphabet Goddess
by Leonard Shlain, Leonardo Vol 33 No. 2. MIT Press.
(Further reviews are
published online at Leonardo Reviews and in the Leonardo Electronic Almanac.)
Exhibitions and events:
(2008) ÒI donÕt know where I
amÕ, UWIC Gallery, Cardiff
(2008) ÔBOCSÕ Canearfon,
Wales.
(2008). ÔPerceptionÕ,
Terracina Gallery, Exeter.
(2007). ÔThree PaintersÕ,
Howard Gardens Gallery, Cardiff
(2007). ÔArcadiaÕ,
TactileBosch, Cardiff.
(2006). ÔParadise: A Turn to
the LeftÕ, More Front/Tactilebosch, Cardiff.
(2006). ÔSeeing Without
ObjectsÕ, Riverfront Arts Centre, Newport
(2006). ÔEndless Forms:
Engaging EvolutionÕ, Group show. Slusser Gallery, Michigan, USA.
(2006). ÔFaithÕ. Tactile
Bosch Gallery, Cardiff.
(2004). ÔAntistaticÕ.
Sonarfiles. 10 Years of Digital Art. Exhibition, Sala de Exposiciones
Temporales de Fundaci—n Telef—nica, Madrid.
(2003). ÔMusical PodsÕ
installation at The Luminaries, London.
(2003). ÔEscapeÕ Interactive
exhibition at Sonar Music Festival, Barcelona, Spain.
(2002). 'Musical Pods'
installation, Leipzig, Dusseldorf, and Berlin (Sponsored by the British
Council).
(2000-01). 'Natural
Phenomena' installation (with Dianne Harris), Nottingham Now Festival 2000 and
Goldbourne Church, London
(1999-2000). 'Musical Pods'
and 'Cyborg Guides', installations in Millennium Dome, Greenwich
(1999). ÔRAMJAM2Õ and
ÔPratyaharaÕ, installation at the Nerve Show, ICA, London.
(1998). 'Aquasphere',
installation at London Aquarium, with Dianne Harris.
(1997). 'Sonar', installation
and performance at Barcelona new music festival.
'RAMJAM', installation at
Nottingham Now 1997 Festival.
(1997). 'Coldcut World Tour',
multimedia performance in various venues across Europe, North America and
Japan.
(1996). 'Generator',
installation at Glasgow Gallery of Modern Art.
'Synopticon', installation at
'JAM' exhibition at the Barbican, London.
(1995). 'Eyeball',
installation at The Forum , London. Funded by London Arts Board.
(1994). 'Terminal Futures',
installation at ICA, London, - interactive computer installation.
(1994). Foster's Ice 'Street
Art' campaign, installed in Camden, London.
(1991). 'Binary Engine' -
experimental computer animation, London Film Festival and touring programme.
(1990). 'Making the invisible
visible', installation at PIXIM with Roy Ascott, Paris.
(1989). 'Aspects of Gaia:
digital pathways across the whole earth', with Roy Ascott, installation at Ars
Electronica, Linz 1989.
Commercial Work
Experience:
(2001 and 2003). Design,
writing and production of School of Art, Media and Design prospectus and web
site. University of Wales, Newport.
(2000). Produced 'Kids Can
Dance' track, video and interactive CD-Rom games for Hexstatic's 'Rewind'
audio-visual album
(1997). Produced and directed
the CD-Rom for Coldcut's 'Let Us Play' album.
(1995). Produced various
videographics and animations for British Telecom, LWT, BBC and MTV.
(1995). 'Digital Dreamware'
produced on CD-Rom and 3DO, published by Virgin.
(1994). Produced various
videographics for Channel 4, MTV, BBC and LWT.
(1994). 'AntiStatic' and
'Headcrash' produced CD-i products, published by Philips Interactive Media.
(1993). 'Global Chaos',
produced long-form video published by Imagine.
(1993). 'Digital Love',
produced CD-Rom, published by Mindscape.
(1993). 'Escape', produced CD-i
published by Philips Interactive Media.
(1992). 'Top Banana',
produced computer game on various formats.
(1992). 'Global Chaos'
produced a product for the CDTV format.
(1991). Formed Hex multimedia
production company with Matt Black, Jon More and Miles Visman; Director and
Head of Production.
(1989). Formed 'Hardwire'
videographics production company.
(1988). Formed BUG, a
multimedia and DTP partnership.