Dr Robert Christian Pepperell FRSA
Born: London, 27th October, 1963
University address:
Robert Pepperell
Professor 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:
2009 to date: Professor of Fine Art, Cardiff School of Art and Design.
2006-2009: 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
2005-2009 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
Member of Peer Review College for the Arts and Humanities Research
Council
Books, chapters and peer-reviewed articles:
Manzotti, R. and Pepperell, R. (in press) 'The
New Mind: Thinking beyond the head', AI
& Society.
Pepperell, R. (in press) 'Art and
Externalism', Journal of Consciousness
Studies.
Pepperell, R. (in press) 'Indeterminacy
and Realism in Cinema and Art' in Realism
After the European Avant-Garde, Verlag fŸr Kommunikation, Kultur and Soziale Praxis, Bielefeld.
Pepperell, R. (2011) 'Connecting Art
and the Brain', Frontiers in Human
Neuroscience.
Pepperell, R. (2011) ÔArt and Extensionism'
in Situated Aesthetics: Art Beyond the Skin, (ed. Riccardo Manzotti), Exeter: Imprint Academic.
Pepperell, R. (2010) 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:
(2011) Art and
Externalism, Towards a Science of
Consciousness, Stockholm
(2011) A
Vision-Space Model of Perception, (with John Jupe), Towards a Science of Consciousness,
Stockholm
(2011) Kinetica Art Fair, London
(2010) First International Symposium on
Illustration, Cardiff
(2010) COGS Research Seminar, University of
Sussex.
(2010) Realism and the Avant-Garde, University
of Paderborn, Germany.
(2010) Consciousness and Experiential Psychology
Annual Conference, University of Oxford,
(2010) The Emergence of the Posthuman
Subject, University of Surrey
(2010) Zoototechnics,
University of Cardiff
(2010)
Art, perception and indeterminacy. Towards a Science of
Consciousness, Tucson, University of Arizona.
(2009)
Art, indeterminacy and non-duality.
Science and Non-Duality Conference. San Francisco, USA.
(2009) Ishai A., Wiesmann M., and
Pepperell R. Training Facilitates Object Perception in Cubist Paintings. The 16th Annual Meeting of the Cognitive Neuroscience Society, San
Francisco.
(2009) Ishai A., Wiesmann M., and
Pepperell R. Training Facilitates Object Perception in Cubist Paintings. 15th Annual meeting for the Organisation of Human Brain Mapping,
San Francisco.
(2008) Ishai A., Wiesmann M., and
Pepperell R. 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.