Judith Burton is Professor and Director of Art and Art Education, Columbia University Teachers College, NYC. Before that she was Chair of Art Education at Boston University and taught at the Massachusetts College of Art. She received her Ed. D. from Harvard University in 1980. Her research focuses on the artistic-aesthetic development of children and adolescents and the implications this has for teaching and learning. In 1995, she co-founded the Center for Research in Arts Education at Teachers College, and in 1996, she founded the Heritage School a comprehensive high school featuring the arts, located in Harlem, NYC. She is author of numerous articles and chapters and her book Conversations in art: The dialectics of teaching and learning has just been published. She received the Manuel Barkan Award for excellence in research writing, the Lowenfeld Award for lifetime achievement in art education and the Ziegfeld Award for her services to international art education, all from the National Art Education Association. Dr, Burton is a Fellow of the Royal Society for the Arts in Great Britain, a Distinguished Fellow of the NAEA, and serves as Distinguished Visiting Professor at the Central Academy of Fine Arts Beijing, China. She is also a Trustee of the Maryland Institute College of Art in Baltimore, Md.
Margaret Cox OBE is Emeritus professor of information technology in education at Kings College. Following her PhD in Atomic Physics in 1965 from London University, Margaret Cox was a part-time lecturer in physics and a physics teacher prior to her appointment as a research officer in 1971 at Surrey University and then co-ordinator for Computer Assisted Learning across the university. In 1982 she was appointed Director for the Computers in the Curriculum project at Chelsea College in London (now subsumed within King’s College London). During the 10 years directing this project, Prof. Cox and her team developed over 250 educational software, researched the impact of IT on teaching and learning and trained teachers to become IT teachers in secondary schools. She has advised many national and international bodies on the impact of IT in education, including the UK, US, Dutch, Brunei, German, Portuguese, French and Chinese governments. Her public output includes many software titles, books, research reports, journal articles and videos; and keynote speeches in many different countries. She has directed many national and international research and development projects on the effects of ICT on teaching and learning in schools and higher education and is currently directing a large interdisciplinary project (hapTEL; 07/2007 – present) to develop and evaluate the use of haptics in dental education in the Dental Institute.
Andrew Dawson is a theatre director, performer, Feldenkrais practitioner and hand model. He studied dance with Merce Cunningham in New York and theatre in Paris with Phillipe Gaulier, Monika Pagneux and Jacques Lecoq. Andrew created and performs, ‘Space Panorama’ (1987) the story of the Apollo 11 moon landing told with only his hands, ‘Quatre Mains’ (1998) which was recently revived for a season at UCLA, Los Angeles in Dec 2008, and his award winning solo show ‘Absence and Presence’ (2005) performing at PS 122 in New York April 2006, which is a deeply intimate and touching portrayal on the death of his father. He also created and directed the stage show of ‘Wallace and Gromit’ (1995),v’Amnesia Curiosa’ for Rainpan 43 (2008 Studio Theatre Washington DC) and fabrik Potsdam’s award winning ‘Pandora 88’ (2003). He directed and co devised ‘The Idiot Colony’ with Redcape Theatre Company, which won a Fringe First at the Edinburgh Festival 2008. In 2008/09 Andrew Choreographed the Opera Dr Atomic for the MET, New York and ENO, London. He worked on the Pearl Fishers for the ENO (production 2010).
Mario Minichiello writes, “Over the past fifteen years, alongside my academic career, I have been working as an Illustrator, primarily in the field of national and international broadcast and broadsheet media. My Reportage illustration work for BBC Newsnight formed part of their BFTA Award for news and current affairs. Vital subjects covered during the late 1980′s included the Birmingham Six hearing, Beirut hostage releases and Spy Catcher trials. During this period and into the 1990′s my work for the political sections of the Guardian and Financial Times gained a high degree of public acknowledgement and vigorous feedback demonstrating the raised public awareness of important international issues. This also engaged me in a national debate about what were some of the perceived limits and boundaries and perceived roles for Illustrators. My illustration work has lead me into the realms of academically recognised research which has been supported by grants awarded by AHRB, EC, NESTA and other bodies for both Animation and Illustration based research. I have been enabled to explore the limits of current knowledge in relation to visual perception of hand made imagery, to show the role that ‘slow art’ can have within multimedia. In particular I have studied the phenomena first identified by editor and academic Wilson Hicks, which came to be known as ‘the third effect’. My research demonstrates that this is a complex issue – given our present day multi media environment.
Barbara Tversky has made groundbreaking contributions to at least four areas in cognitive psychology. In the field of memory, some of her early work helped establish the roles of pictorial and verbal codes in long-term memory. In categorization, her research showed how the parts of a thing relate to its function and thus shape categories. In spatial cognition, one of her many contributions has been to characterize the spatial framework in which people locate objects near their bodies. In event perception, she has shown how perceivers segment ongoing activity into meaningful events and how this relates to learning and task performance. One characteristic that unifies these bodies of work is the high degree of creativity evident in each. Another is that, in each area, Tversky has opened up new topics of inquiry into which other researchers have enthusiastically followed. A characteristic of Tversky’s research is a persistent interest in the relations between people’s cognitive systems and the technologies they use to augment and reconstitute those cognitive systems—from cave paintings to scientific diagrams to cartoons to computerized visualization. As a result of making these connections, her work is cited widely by computer scientists, educators, architects, and geographers as well as by her fellow psychologists.
In addition to her scientific work, Tversky has been tireless in her efforts on behalf of the behavioral and brain sciences in the USA and worldwide, serving on executive committees and governing boards for the Cognitive Science Society and the International Union of Psychological Sciences, and serving on innumerable program committees and organizing committees.
Barbara Tversky is Professor of Psychology and Education at Teachers College, Columbia University and Professor Emerita at Stanford University. She received her B.A., M.A., and PhD degrees all from the University of Michigan, the latest in 1969. After positions at Hebrew University, the University of Oregon, and the University of Michigan, she settled at Stanford University, where she taught and researched from 1977 through 2006, when she moved to Teacher College at Columbia University. Tversky has received awards and fellowships from the American Psychological Society, the Cognitive Science Society, the Russell Sage Foundation, the Society for Experimental Psychology, and Phi Beta Kappa.
Gemma Anderson was born in Belfast in 1981 and now lives and works between London and Cornwall. Anderson attended Falmouth College of Art (BA) and the Royal College of Art, London (MA). Gemma is currently Artist in Residence at Imperial College Mathematics Department and has been awarded a studentship at University College Falmouth to complete a practise based PhD in Comparative Morphology and Drawing.
Anderson’s distinctive line drawings are drawn directly onto the plate and hand-painted upon afterwards in the studio. Etchings on this scale are rare and it is rarer still to find etchings drawn directly onto copper from life. Anderson’s recent work draws on source material from the key collections held by the Natural History Museum, University College London and Kew Gardens. Anderson juxtaposes different species groups delicately interweaving them in intricate drawings through which she questions established taxonomies and systems of classification.
She has won several awards, including a five year residency at Acme Studios Fire Station in London, EPSRC award, RHA Thomas Dammann Award 2009, Arts Council Purchase Award 2009, Wellcome Trust Arts Award 2009, Man Group Drawing Prize Winner, and Royal College of Art 2007. Anderson has shown at venues around London, Cornwall and Belfast and been awarded residencies in Ireland, Japan, Venice, Belize and Nigeria. Anderson’s work is held in the collection of the V&A Museum, The Natural History Museum, The Arts Council of Northern Ireland, The Wellcome Trust, The Royal College of Art, University College Falmouth and the Braid Museum.