TKKd külastanud välisõppejõud

Jan-Erik Lundström
Jan-Erik Lundström is the director of BildMuseet, Umeå university, Umeå, Sweden, a museum of contemporary art and visual culture. He is equally involved in curating, organizing, lecturing and writing. Among his latest exhibitions are Politics of Place, Killing Me Softly (Tirana Biennial), Projects for a Revolution (Mois de la Photo, Montreal), Double Vision (Prague Biennale), Same, Same, but Different and Människor i Norr(Peoples of the North). He is the chief curator of Berlin Photography Festival, 2005, where he produced the exhibition After the Fact, a major survey towards documentary practices in contemporary art. He is the author of numerous books, including Nordic Landscapes, Tankar om fotografi (Thoughts on Photography), Irving Penn and Horizons: Towards a Global Africa. He is a guest professor at HISK, Antwerp, Belgium and at the Kunstakademie, Oslo, Norway. Lundström is a prolific international lecturer and writer, contributor to symposia internationally and to cultural magazines such as Glänta, European Photography, Paletten and tema celeste.

Education: Philosophy and Aesthetics, Uppsala Universitet, 1980-1981,  - Bachelor of Fine Arts/Bachelor of Arts, Rochester Institute of Technology, Rochester, NY, USA, 1981-1984 - MA Studies and intership at Visual Studies Workshop, Rochester, USA, 1984-1985 - Art History (BA), Lund University, 1989 - PhD Studies in Visual Communication/Visual Culture, Tema Kommunikation, Linköping University, 1990 1992 - PhD Studies, Umeå university, Art History, 2004

Books include: Vilém Flusser, En filosofi för fotografin (A Philosophy for Photography), Korpen, Göteborg, 1987, translation+ essay - Nordiska Landskap, en antologi (Nordic Landscapes, an anthology), red. Jan-Erik Lundström, Alfabeta, Stockholm, 1989, essay + translation + editor - Noam Chomsky, Terrorismens kultur (The Culture of Terrorism), Epsilon Press, Göteborg, 1990, translation + essay - At the Borders: Photography and Cultural Identity, ed. Jan-Erik Lundström, Pohjoinen Valokuvakeskus, Oulu, Finland, 1991; essay + editor - Japo Knuutila, 37 degrees Celsius, Opus, Helsinki, Finland; essay + editor - Talspråk, Bildspråk, Skriftspråk (Orality, Literacy, Visuality), ed Jan-Erik Lundström and Berit Sahlström, Tema Kommunikation, Linköpings Universitet, Linköping, 1992; editor + essay - Tankar om fotografi (Thoughts on Photography), anthology, ed. Jan-Erik Lundström, Alfabeta, Stockholm, 1993; editor + essay + translation - Foucault, namnet på en modern vetenskaplig och filosofisk problematik (Foucault, the name of a modern philosophical problematics), ed. Kennet Petersson and Kenneth Hultqvist, Stockholm, HLS Förlag, Stockholm, 1995 jpt.

Peetud loengud: "Pildi tulevikud: kaasegsed fototeooriad" ning "Pildid ja poliitikad: Dokumentaalsed ja Post-dokumentaalsed strateegiad kaasaegses kunstis
Prof. Dr. Irit Rogoff
Professor of Visual Cultures, London University Goldsmiths College.

Education: PhD. Courtauld Institute of Art, London University, 1987. Dissertation
title: The Public Self - Self Portraits and Cultural Ideologies in German Modernism; MA History of Art. Courtauld Institute of Art, London University, 1973; BA English Literature. Hebrew University of Jerusalem, 1971; BA. History of Art. Hebrew University of Jerusalem, 1971

Professional activities: Director AHRB project 'Translating the Image: Cross-cultural Contemporary Arts' (2001-2006); Editorial Board Parallax (University of Leeds); Editorial Board Journal of Visual Culture (Sage Publications)
External examiner of MA Slade School of Art, University College London
(2002-2005)

Books include:
The Divided Heritage - Themes and Problems in German Modernism, Ed.
Irit Rogoff. Cambridge University Press, 1991.
Museum Culture - Histories / Theories / Spectacles, I. Rogoff and D.
Sherman, Minnesota University Press, 1994.
Terra Infirma - Geography's Visual Culture, Routledge, London and New
York, May 2000. Othering German Art - Haunts of Difference, Forthcoming, University of California Press, September ,2005; Looking Away - Participations in Visual Culture, Forthcoming, MIT, 2006

Peetud loeng: THE WHERE of NOW
The Where of Now is an attempt to think location beyond place and to introduce notions of singularity as a new communal mode in relation to global processes. The paper proposes a mutual loosening of the dependence between identity and its location and dissolution of the binary of "over here" and "over there". Singularity is introduced as a possible theoretical
concept allowing for the rise of another, alternative notion of location the location of the singular rather than the specific.The paper explores potential critical singularities - beings or positions that are not inscribed with identity, are not in a relation of legible identification with other beings, but nonetheless perform some form of collectivity or mutuality. In the process, an alternative concept of location, one which is not dependent on place, might emerge.
Ian Jeffrey
Ian Jeffrey lectures at Goldsmiths College, University of London, is one of Britain¹s leading art historians. His books about photography include Photography: A Concise History (1981), Revisions: An Alternative History of Photography (1999), Magnum Landscape (1996) and The Photography Book (2000).

ILMUNUD RAAMATUD:
"Magnum Landscape" by Ian Jeffrey, Edited by Magnum, Phaidon Press , paper , 184 pages Published: March 2005 "The Photography Book" by Ian Jeffrey Phaidon Press , paper , 520 pages, June 2000; "Timeframes": The Story of Photography by Ian Jeffrey. Watson-guptill Publs. , cloth , 224 pages Published: October 1998; "Tomatsu, Shomei" by Ian Jeffrey. Phaidon Press, paper , 55 pages Published: June 2001; "Photography" (World of Art) by Ian Jeffry and Ian Jeffrey Thames and Hudson , paper , 248 pages; Published: November 1988; Josef Sudek (Phaidon 55's Series.) (Paperback) by Ian Jeffrey, Josef Sudek (Photographer) Paperback: 128 pages; Phaidon Press 2001.; Bill Brandt: Photographs 1928-1983 (Paperback) by Ian Jeffrey, Bill Brandt (Photographer) 192 pages; Thames & Hudson Ltd (1994); The Language of Things (Paperback) by Ian Jeffrey; 40 pages, Kettle's Yard Gallery (17 Feb 2003); Inscriptions and Inventions: British Photography in the 1980's by Ian Jeffrey, Brett Rogers
44 pages; The British Council (Visual Arts publications) (April 1987); Revisions: An Alternative History of Photography (Paperback) by Ian Jeffrey 120 pages, National Museum of Photography,Film & Television, 1999.

Peetud loengud: "Photography and Premodern", "Photography and the Modern" and "Photography and Postmodern"
Prof. Dr James Elkins
James Elkins is E.C. Chadbourne Professor in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago. He writes on art and non-art images; currently he is organizing a seven-year series called the Stone Summer Theory Institute (stonesummertheoryinstitute.org). (jameselkins@fastmail.jp).

Education:
PhD with honors, University of Chicago, Department of Art, 1984–1989. Dissertation: “Perspective in Renaissance Art and in Modern Scholarship,” 6 vols.
MA, University of Chicago, Department of Art, 1984. Thesis: “Hegelianism in the Contemporary Practice of Art History.”
MFA, University of Chicago, Committee on Art and Design, 1983. Practice of art and thesis concerning the theory of art education in a studio setting.
BA cum laude, Cornell University, 1977. Honors Thesis: “Gesture in Renaissance Art,” 5 vols.

Honorary degree: PhD honoris causa, Göteborg University, Sweden, 2008.
Books include: his recent books include On the Strange Place of Religion in Contemporary Art, Visual Studies: A Skeptical Introduction, What Happened to Art Criticism? and Master Narratives and Their Discontents. He edited two book series for

Routledge: The Art Seminar (conversations on different subjects in art theory) and Theories of Modernism and Postmodernism in the Visual Arts (short monographs on the shape of the twentieth century).

Peetud loengud: “Against Camera Lucida” ja “On Visual Culture”.
Prof. Robin Dance
Prof. Robin Dance Tartu Art College, Estonia. (fotograafia osakonna juhataja 2006/2007 õ.a.)

Education: Colchester School of Art (1968 ¬-1970); Hornsey College of Art / Middlesex Polytechnic, London (1970 ¬-1973).

Teaching experience includes: Ecole d’arts appliqués, Vevey; Kunstuniversität Linz; Staffordshire University, Stoke-on-Trent ; Surrey Institute of Art & Design, Farnham; Tallinn Arts Academy; University of Brighton; University of Northumbria, Newcastle-upon-Tyne; Vilnius Arts Academy.

Publications include: Fotogeschichte 54 (Frankfurt am Main 1994); Remains (Ulm 1995); Untitled 9 (London 1995); Myth and Landscape (Delphi 1996); Untitled 11 (London 1996); Sensible 1 (Douchy-les-Mines1996); Sensible 4 (Douchy-les-Mines 1997); Portfolio 26 (Edinburgh 1997); Sensible 6 (Douchy-les-Mines 1998); Construire 43 (Zurich 1998); The Sleep of Reason (Norwich 2000); Sensible 10 (Douchy-les-Mines 2000) Kamiyama Artist-in-Residence 2000 (Kamiyama 2001); Artists’ Portraits / Nicholas Sinclair (London 2000); Next Level 2 (London 2002); Kunst.ee 3 (Tallinn 2003); Der Standard / Album, 31 July (Vienna 2004); Cheese 19/20 (Tartu 2006).

Editorial positions held: Wide Angle (Brighton 1988 – 1992)

Exhibitions include: Some European Outlooks – Saarema International Photo-Festival 1992; Three from England – Kiek in de Kök Gallery, Tallinn 1992; Myth and Landscape – European Cultural Centre of Delphi 1996; Continuities & Discontinuities – Macedonian Museum of Contemporary Art, Saloniki 1999; The Sleep of Reason – Norwich Gallery 2000; Paysages Marqués – Galerie du CRP, Douchy-les-Mines 2000; KAIR 2000 – Kamiyama Festival, Shikoku 2000; Naturstücke – Photographien 1850–2000 – Staatsgalerie Stuttgart 2001; Export – Yokohama Portside Gallery, Yokohama 2002; Blow Up – The Ulmer Museum, Ulm 2004; Remains – Ulmer Münster, Ulm 1995; Le Ventre de la Bête – Galerie du CRP, Douchy-les-Mines 1997; Landscapes – Photosynkyria 98, Saloniki 1998; Japanese Landscapes – Sebra Gallery, Tartu 2002; Robin Dance: Photography – Kunsthalle Krems / Galerie Factory 2004.

Peetud loeng teemal “Hirmu Maastikud”

Aastatel 1992 – 2004 teostasin rida projekte, milles keskendusin kolmele teemale: paikadele, kus minevikus tegutsesid koonduslaagrid, Jaapani Shikoku “betoneeritud maastikele” ja Austria kõrgeima turvarežiimiga vanglatele Justizanstalt Stein – paikadele, mis on loodud hirmu jõujoontes. Loengus arutletakse nende viiside üle, kuidas autor “hirmutavate maastike” teemale lähenes ja kuidas ta neid kasutas omaenese hirmudest ülesaamiseks.
Nicolas Sinclair
Nicholas Sinclair Photographer, U.K.

Books include: The Chameleon Body (1996), Franko B (1998), Portraits of Artists (2000), Crossing the Water (2002), Berlin: Imagining the Tri Chord (2007).

Publications include: Femininmasculin - Le Sexe de l'Art (1995), Rrose is a Rrose is a Rrose - Gender Performance in Photography (1997), Angel, Angel - Legends of the Present (1997), Rosso Vivo (1999), The Century of the Body (2000), Il Corpo Renato (2000), Art, Lies & Videotape - Exposing Performance (2003), Eroticism & Art (2006), Rodin: All about Eve (2006).

Ettekanne teemal: ”Franko B”

Ettekanne keskendub 3-aastasele koostööle Itaalia performance´ikunstniku Franko B-ga. Loengus näidatakse illustratsioone nii avalikest performance´idest kui ka etendustest, mis tehtud spetsiaalselt kaamera jaoks.
Raphael Gianelli-Meriano
Raphaël Gianelli-Meriano, Artist and filmmaker Paris, France

Education: Studied Literature and Arts at Montpellier University of Letter. Worked on the marketing and as a team rider for Sector9 Skateboards in France.

Teaching experience includes: Tartu Art College

Books include: About Estonia – Argo Publishers Tallinn 2004 William Eggleston as Seen By... - Lamplighter Productions France 2007

Publications include: Libération, Eyemazing, French, Jalouse, Purple Fashion, Redux, 34, Blast, Beaux Arts, En Ville, Ei8ht, Cheese, Lodown…

Filmography includes: Daydreamers – Bollywood Productions, France 2005 Mad - Music Video - Nocturne and Bollywood Productions, France 2006; A Night without the Pope - Bollywood Productions, France 2006-07 La Vie En Bas - In development, Bollywood Productions, France 2006-07 Travaux Forces - In development, France 2007

Exhibitions include: About Estonia – Tallinn Film Festival, Estonia December 2004; Colette, Paris April 2005; Daydreamers - Galerie La Bank, Paris January 2006; About Estonia – Grand OFR bookshop, London March 2006; William Eggleston as seen by... - Group show - Lisboa Portugal May 2007 a.o.

Peetud loeng teemal ”Enesestmõistetavusi unustades”

Mõnedki kaasagsed pilditegijad kuulutavad end olevat “sõjajalal ilmsega” (William Eggleston). Nõnda pakuvad nad oma piltide vahendusel võimalusi normaalse, igapäevase keskkonna ümbermõteastamiseks. Nende tööd on seega räiges vastuolus massimeedias ringlevate visuaalide- ja pressifotodega, mille abil püütakse publikus intensiivselt ning katkematult normaliseerida sõja-, terrorismi- või luksuse standardiseeritud ikoonidesse. Ent ka sõltumatutel pilditegijatel on surve sattuda sellise moonutatud maailmataju tootjate hulka, mis koosneb kiirpiltidest, vägivalla ja glamuuri ühekülgselt moonutatud kuvanditest, mis meie mitmekülgsemat maailmapilti kõrvale üritavad tõrjuda. Vaid harva õnnestub neil end isoleerida sellisest kuvandivoost ja kasutada oma fotosid tunnetuslikel või poeetilistel eesmärkidel.
Prof. Dr. David Tomas
Prof. Dr. David Tomas. Professeur, École des arts visuels et médiatiques, Université du Québec à Montréal.

Education: 1973 Painting Diploma, City and Guilds of London Art School, London, England, 1975 M.F.A., Studio (multimédia), Université Concordia, Montréal, 1988 Ph.D., Anthropology, Université McGill, Montréal.

Books include: Beyond the Image Machine: A History of Visual Technologies, A Blinding Flash of Light: Photography between Disciplines and Media, Duction a.o. Publications include: The Encoded Eye, the Archive, and its Engine House; Transcultural Space and Transcultural Beings, Theory Rules, J. Berland, W. Straw et David Tomas (dir.), Aspects of Touch in Contemporary Art a.o.

David Tomas is also an internationally recognized artist.

Peetud loeng teemal “Pöörised, segistumine, konvergents – Aja ja ruumi moonded: vägivalla mõõtmed meedia ajaloos aurumasinast fotograafia ajastuni”

Meedia ajaloo vaatepunktist on fotograafia loonud pildikategooriaid, mis representeerivad maailma ja selle sündmusi enneolematul viisil. Sellega koos on fotograafia toime pannud vägivalla-akti meie kollektiivse ja personaalsete mäludega. Niisugust vägivalda seostatakse tavaliselt tehnoloogia võimega lõikuda tegevuste voogu, mis sündmusi defneerivad – isoleerida tüki ajast ja ruumist ja anda väljalõikele pildiline tähendus. Säärase pildi loomine baseerub vägivalla-aktile, mida määratletakse katiku funktsioneerimise- ja pildiotsija piiride kaudu, mis koos loovad pildi, eraldades selle loomiskontekstist. Ja ometi on selle kõrval teinegi vägivalla vorm, mis pärineb reaalsuse peenekoelisemast kihistusest. See vägivald on seotud meie teadmiste distsiplinaarse kujunemisega ja teadmiste organiseeritusega ajalugude kujul, mis palendavad üht teistsugust, salakavalat viisi sisselõike sooritamises ruumi, aega ja kontekstidesse. Alustades Andamani saare asuka kinninabimisega Briti ekspeditsiooni poolt 1857.aastal ja sellele järgnenud arreteeritu transporteerimise ja kanaliseerimise läbi erinevate transpordi/ kommunikatsiooni/ media süsteemide (aur, riided, peeglid, fotograafia ning antropomeetrilised mõõtmised) – käsitleb see uurimus meediumide omavahelise suhtestumise eriilmelisi viise, mis siiski toimivad koordineeritud moel, ületades distsiplinaarseid piire ja kategoriseerimise süsteeme. Käesolev ettekanne arutleb meediumide omavaheliste suhete üle, tuginedes meta-ajalooliste fotode või nende kogumi ideele.
Emeritus Prof. Dr. Jay Ruby
Emeritus Prof. Dr. Jay Ruby. Temple University, Philadelphia.

Education: B.A. in History, 1960, an M.A., 1962, and Ph.D. 1969 in Anthropology, University of California, Los Angeles.

Books include: Secure The Shadow: Death and Photography in America, The Photographic World of Francis Cooper: Not A Bad Shot, Picturing Culture: Essays on Film and Anthropology, Image Ethics, Image Ethics in the Digital World (with Larry Gross, and john Stuart Katz). Publications include: Is an Ethnographic Film a Filmic Ethnography?; Franz Boas and Early Camera Study of Behaviour; A Re-examination of the Early Career of Robert J. Flaherty; Ethnography as Trompe L'Oeil: Anthropology and Film; An Early Attempt at Studying Human Behaviour with a Camera: Franz Boas and The Kwakiutl; Speaking For, Speaking About, Speaking With, or Speaking Alongside: An Anthropological and Documentary; The Viewer Viewed: The Reception of Ethnographic Films; Out of Sync: The Cinema of Tim Asch; Encyclopaedia of Cultural Anthropology a.o.

Peetud loeng teemal: “Eetilised pildid: Post-Modernne sõnamäng (5400+ sõna)”

Juba 1960.aastatest saadik on fotodokumentalsitikat kritiseeritud selle eest, et seda on oma kontrolli all hoidnud vaid tühine käputais institutsioone ja et inimestel on harva olnud võimalik representeerida iseennast. Veelgi enam – need, keda traditsiooniliselt dokumenteeritakse on sageli kurtnud selle üle, et viisid, kuid neid representeeritakse ei kannata kriitikat: et nenedega tegeletakse liiga lühikest aega, mis ei võimalda piisavalt süveneda. Vastuseks niisugusele kriitikale on kahtlemata fotograafide hulka lülitatud rohkem naisi, ühiskonna mitmesuguseid minoriteetseid kihistusi jt., kellel varem puudusid võimalused fotograafiks saada. Praegu koosneb dokumentalistide seltskond nii afrodest, indiaanlastest, ameerika hispaanlastest jne. Ja sellele vaatamata hoiduvad keskklassi valged dokumentalistid jätkuvalt heterogeense ühiskonna mõnedestki teemadest. Enamiku fotodokumentalistide sotsiopoliitline positsioon on algusest peale olnud vasakpoolne – reformistlik, sotsialistlik ja enamgi veel. Nad on lootnud maailma muuta ühiskonna valupunktide näitamisega nagu seda on illegaalsete immigrantide kasutamine raskete ent odavate tööde teostamisel või siis globaliseerimise tõttu haruldaseks muutunud tööoskusilmingute näitamine. Ent vaatamata nende dokumentalistide üllastele kavatsustele on mul raske leida tõendeid selle kohta, et maailma oleks piltide abil oluliselt muudetud. Mis aga niisuguses olukorras on paradoksaalne, on uute minevikust mitteõppinud dokumentalistide uue põlvkonna hoogne pealekasv.
Prof. Dr. Thomas McEvilley
Prof. Dr. Thomas McEvilley, School of Visual Art NYC, chair Department of Art Criticism and Writing Scholar and art critic Education: BA, University of Cincinnati; MA, University of Washington; PhD, University of Cincinnati.

Teaching experience includes: Rice University; University of St. Thomas; Yale University; School of the Art Institute of Chicago

Books include: Art and Discontent; Art and Otherness; Sculpture in the Age of Doubt; The Triumph of Anti-Art; The Exile’s Return: Toward a Redefinition of Painting for the Post-Modern Era; Capacity (with Roger Denson); The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies

Publications include: Meret Oppenheim: Beyond the Teacup, Diogenes of Sinope, Ed Kienholz: A Retrospective, Thornton Dial: Image of the Tiger, Lucas Samaras, Dennis Oppenheim, Bernar Venet. Monographs include: Yves Klein, Jannis Kounellis, Pat Steir

Editorial positions held: Contributing editor, Artforum; editor-in-chief, Contemporanea

Peetud loeng teemal: "Antikunsti triumf: Kontseptuaal- ja performance´ kunsti rollist postmodernismi formeerumisel" (teesid)

Aastatel ca 1965 kuni 1980, saavutasid kontseptuaal- ja performance´ikunst keskse positsiooni kogu Läänemaailmas ning tõid endaga kaasa uusi ja mitmetahulisi ideid, mis siiani oma globaalset mõju avaldavad. Siinne ettekanne mitte ainult ei kontekstualiseeri neid algeid ja arenguid ajalooliselt vaid toob nähtavale ka rea suhteliselt tunnustamata kuid olulisi kunstnikke. Käsitlen ka “antikunsti” pikaajalist toimet, ja selle pluralistliku olukorra kujunemist, mida tunneme kui postmodernset. See vaatlus hõlmab arenguid, mis leidsid aset Kreeka filosoofist Diogenesest kuni 19.sajandi Saksa Romantistliku filosoofiani; või modernistlikust kunstikriitikust Clement Greenbergist Marcel Duchamp´i mõjudeni. Selle taustas peaksid välja joonistuma need ideed ja poliitilised impulsid, mis tõid kaasa maalikunsti ja skulptuuri kollapsi II Maailmasõjale järgnenud kümnenditel.
Prof. Nils Riess
Biography: Nils Riess (Producer/Department Chair) is a native of New York City. He is the chair of the Department of Communication Arts, is head of the University’s fine arts division and was instrumental in planning the design and construction of the Freed Center for the Performing Arts.

As a professor of theatre, he teaches a performance-oriented curriculum. Riess has experience as a professional actor, director, stage manager and consultant in arts education, and is an associate member of the Society of Stage Directors and Choreographers. He has served on theatre and dance advisory panels and as an on-site theatre and dance evaluator.

During his tenure at Ohio Northern University (ONU), Riess has expanded the theatre program to include a dance minor, a BFA in musical theatre, a guest artist program and an international studies program. As a director he has staged over 100 plays and produced over 400 performance events.

Professor Riess considers international collaborations an integral part of the theatre program. In addition to founding the International Play Festival, he has hosted numerous international artists and facilitated student study programs and internships throughout the world. Professor Riess initiated the program, which enables ONU students to perform at the Edinburgh Fringe Festival every three to four years. He was also instrumental in setting up the BFA in International Theatre Production. Nils is a recipient of the Ohio Governor’s Award for arts in education.

Photos of prof. Riess´ visit
Irma Salo Jaeger
Irma Salo Jaeger, CV
Sofia Wilkman
Sofia Wilkmani CV
Algirdas Dovydenas
Algirdas Dovydenas, CV
Ieva Paltanaviciute
Ieva Paltanaviciute, CV
Joost Caen
Joost Caen, CV
Tannar Ruuben
Location: Finland
Senior lecturer at Helsinki Metropolia University of Applied Sciences

Director:
Conservation Centre KANUT
Museums and Institutions industry

Education
Göteborgs universitet MA, Paintings Conservation 1998 – 2007
Helia Teacher´s Diploma for Polytechnics, Vocational Teacher Education 2005 – 2006
EVTEK Institute of Art and Design BA, Paintings Conservation 1994 – 1997
Tartu Ülikool MSc, Physics 1986 – 1992
Timo Lehtonen
Timo Lehtonen, CV
Juhani Järvinen
Juhani Järvinen, CV
Chris Hales
Internationally renowned specialist in exploring the ‘interactive moving image’, as practitioner, educator and researcher. The interactive films that he creates are influenced by experimental film and by videoart, rather than by traditional dramatic narrative forms, and are usually one-man productions with all aspects of filming and use of technology carried out by the artist himself.

Based since 2006 as an academic staffmember of the SMARTlab Research Institute, he taught full-time in higher ducation for many years in the crossover of art and design with computers, and studied MA Interactive Multimedia at the Royal College of Art, London.

His PhD “Rethinking the Interactive Movie”, which developed the concept of ‘movie as interface’, was successfully completed in October 2006. His cdroms have been selected at numerous film/multimedia festivals, and his touchscreen installation (showing a dozen or more of his interactive films) was presented in Seoul, Helsinki, Warsaw, Nagoya, SanFrancisco and Sydney (amongst other places) and was included in the landmark 2003 ‘Future Cinema’ exhibition curated by the ZKM. In summer 2008 he exhibited a retrospective of most of his films in a 9-room exhibition as part of the Prague Triennale of Contemporary Art.

He writes frequently about ‘interactive moving image’, has taught almost 100 short workshop courses on this subject in numerous institutions in Europe, and is a regular speaker at international events. Recent projects include 'Cause and Effect', an experimental interactive cinema performance which has been staged with Finnish colleagues in more than thirtyinternational venues, and an AHRB-funded research project in Prague to rediscover the "Kinoautomat" from 1967 - the world's first interactive movie.

•Academic Career
2006- present Research Group Leader in Interactive Audiovisual Narratives / PhD Supervisor, SMARTLAB Research Institute
2001- present Visiting Workshop Tutor: various establishments in Europe [interactive film / art / narrative]
2010- 2012 Honorary Lecturer, The Slade School of Fine Art
2007 & 2009 Short-term replacement MA Lecturer (temporary), Media Lab, University of Art and Design, Helsinki. Finland
2001-2005 PhD Researcher: "Rethinking the Interactive Movie", SMARTLAB, Central St Martins School of Art & Design
2001-2003 Tutor, MA Communication Design, Central St Martins School of Art & Design.
2000-2001 PhD research (pt/time) Institute for New Media Performance Research, Uni. of Surrey.
1996-2000 PhD research (pt/time): Interactive Film Art, RCA Film/TV school, Kensington Gore, London SW7 2EU
1994-1995 MA European Interactive Multimedia, Royal College of Art.
1990-2001 Senior Lecturer: (Fine Art, Media, Design) UWE Faculty of Art, Media and Design, Kennel Lodge Rd, Bristol BS3 2JT

•Academic Qualifications
PhD. ‘Rethinking the Interactive Movie’. Oct 2006. University of East London, SMARTlab.
MA European Interactive Multimedia. Royal College of Art, 1995.
Bsc. Computer Graphics, Bristol University. 1985.