Contributors

Lanfranco Aceti (l.aceti1@csm.linst.ac.uk) is a digital artist and a Ph.D. researcher in Fine Art at Central Saint Martins in London. He is interested in the cross-platform media as expression of the contemporary avant-garde; the ‘integrated interactive media’ and in the ‘technological Bauhaus’, both concepts at work in contemporary art. He has also worked on Italian art films as well as producing digital artworks.

Anna Bentkowska (anna.bentkowska@courtauld.ac.uk) is currently working on digitisation of images for the Corpus of Romanesque Sculpture in Britain and Ireland (www.crsbi.ac.uk) and is Researcher for the Digital Image Archive Group at Birkbeck College, London. Her research and publications have been mainly on early modern visual culture in Western Europe, with special interest in cosmological and anthropomorphic representations of nature; as well as the use of digital imaging in iconographical analysis and interpretation of paintings. She has an MA in the History of Art (Warsaw), MA in Computing Applications for the History of Art (London) and PhD in Digital Media Studies (Southampton). She has been a member of the CHArt committee since 1999.

Melina Berkenwald (melina@berken.freeserve.co.uk) has been researching the relationship between contemporary art and digital technology for the last four years, at the School of Communication and Creative Industries, University of Westminster. She has recently submitted her doctoral thesis, titled “Screen and Frame in Painting in the Digital Era”. As an academic, she has been teaching and running different workshops in visual arts and related areas. As a practising artist she has exhibited her work in the United Kingdom and in South America.

Luciana Bordoni graduated in Mathematics and specialized in Control System and Automatic Calculus Engineering at the Università La Sapienza in Rome. Since 1980, she has been working for ENEA (Italian National Agency for New Technology, Energy and Environment) in Casaccia, Rome, in the field of data processing, databases, information handling. Currently she works at ENEA’s UDA/Advisor whose main aim is to develop methods, techniques and systems that can contribute to innovating sectors concerned with disseminate information.

Cristiano Bianchi (cristiano@keepthinking.it) founded keepthinking in 2001. Prior to this, he was Creative Director for ParallelGraphics UK and Okupi and worked for the BBC, Pearson Education, MacMillan and Intel among others. His projects have been published in Create Online and Campaign magazines, and they have twice been short-listed for BAFTA awards.

John Calvelli (john@pushllc.com) is an educator and design consultant involved in visual communications. He was director of graphic design at The Museum of Modern Art in New York, a brand strategy manager for KPMG Consulting, and is currently working full-time in graphic design for the Art Institute of Portland in Oregon.

Trish Cashen (t.cashen@open.ac.uk) has been involved with integrating computing into university level humanities teaching since 1993. She currently works at The Open University, exploiting new media for teaching arts subjects. Her main areas of interest are exploring the pedagogical effectiveness of new media and using the Internet for art history. At present she is working on the educational potential of DVD video, as well as contributing to an interactive CD-ROM of the Soane Museum and to electronic resources for the Open University's MA in Art History. She has been a member of the CHArt committee since 1994.

Antonio Criminisi (antcrim@microsoft.com) obtained his PhD in Computer Vision at the University of Oxford in 1999. His thesis, Accurate Visual Metrology from Single and Multiple Uncalibrated Images won the British Computer Society Distinguished Dissertation Award for the year 2000 and was published by Springer-Verlag London Ltd. in 2001. He is currently a Research Fellow at Clare Hall College, Cambridge. His current research interests are in the area of image-based modelling of spaces, image and video analysis and editing, one-to-one teleconferencing, 3D reconstruction from single and multiple images with application to Virtual Reality, Forensic Science, Image-Based Rendering and Art History.

Ida Engholm (ie@it-c.dk) is assisting teaching professor, PhD scholar at the Digital Aesthetics and Communication Research Department (DiAC) of the IT University of Copenhagen. Ida conducts research in the field of digital design. Currently she is working towards her PhD on the design history of digital media. The aim of her thesis is to survey the development of graphic design on the Internet and to develop a theoretical framework for analysis of digital design phenomena. Ida holds a MA in Danish Literature and Art History and has published two books about design. She has also worked as an editor and journalist at the Danish Design Centre.

Emilie Gordenker (emilie@dsl.pipex.com) received her Ph.D. in the History of Art from the Institute of Fine Arts, New York University in 1998. Her interests are in Northern Baroque painting and the history of dress. She has worked for the Netherlands Institute for Art History, the Frick Collection and the Metropolitan Museum of Art; has contributed to catalogues of the Museo del Prado and the Metropolitan Museum of Art; has taught at Rutgers University, Vassar College and the Bard Graduate Center for the Decorative Arts and has published in the area of her expertise. She worked at Gallery Systems from June 2000 – September 2002. She is now Senior Creative Manager at Antenna Audio in London, where she produces audio tours as well as multimedia productions.

Margaret E. Graham (margaret.graham@unn.ac.uk) is a Principal Lecture in the School of Informatics, University of Northumbria. Formally, she was Research and Development Manager at the Institute for Image Data Research at the same University.

Michael Hammel (kunjmh@hum.au.dk) is an MA candidate in art history and media science at the University of Aarhus, Denmark. Currently, he teaches webdesign at the IT University of Copenhagen and has taught in computer arts and aesthetics at the Department of Art History at University of Aarhus. He works as a freelance web designer, and occasionally reports on art and technology issues for the Danish State Radio.

Martin Kemp (martin.kemp@trinity.ox.ac.uk) is Professor of the History of Art at Oxford University. The central theme of his research has been the relationship between scientific models of nature and the theory and practice of art. Increasingly it has concerned issues of visualisation, modelling and representation in science and art. A major focus has been Leonardo da Vinci (including monograph of 1998/90). The culmination of the optical researches is The Science of Art. The Optical Themes in Western Art from Brunelleschi to Seurat, 1990. Anatomical themes and related topics from natural history and the ‘hard’ sciences are explored in Visualizations: the ‘Nature’ Book of Science and Art; Spectacular Bodies. The Art and Science of the Human Body from Leonardo to Now (with Marina Wallace, Hayward Gallery, London, 2000-1); Seen and Unseen. Visual Angles on Art and Science (forthcoming) and The Human Animal (forthcoming). He has also worked closely with contemporary artists on exhibition projects, and pioneered computer techniques for the study of perspective and the works of Leonardo. With Marina Wallace he has founded Wallace Kemp / Artakt (see Artakt.co.uk) as a vehicle for research and exhibition work, particularly in the art-science area. He has worked extensively for radio and TV.

Dunja Kukovec (melon@skylined.org) has a BA in Art History from the University of Ljubljana, Slovenia. Currently working in the Museum of Modern Art in Ljubljana, she is in charge of monthly programmes on art in the new media context entitled Foo Bar, being part of the skylined.org. She curated several solo and group exhibitions She is also a freelance researcher and author and is currently based in London, UK.

Mike Leggett (Mike.Leggett@uts.edu.au, legart@ozemail.com.au) has been working with media across the institutions of art, education, cinema and television since the mid-60s. He has film and video work in archives and collections in Europe, Australia, North and South America and practices professionally as an artist, curator, writer and teacher. He has curated exhibitions of interactive multimedia: for the Museum of Contemporary Art in Sydney (Burning the Interface<International Artists’ CD-ROM>, also seen in Brisbane, Perth, Adelaide and Melbourne); the Brisbane International Film Festival; the 5th International Documentary Conference; and the Videotage Festival of Video Art, Hong Kong.

Mary Pearce (mmpp@durand.com.br) has an extensive experience with both art and technology as she has been involved in commercial and artistic multimedia projects for some years. This, combined with continued research in art theory and history, has enabled her to experiment with the capacity of new media technology to facilitate the teaching, understanding and analysis of artistic expression. After completing her PhD at Kingston University, UK, she has been working as a multimedia freelancer, mainly in Brazil, in projects of ‘Education through Art’. She is also presently extending the PhD research on colour into distance learning modules, through the University of São Paulo.

Jonathan Riley is a Research Associate at the Institute for Image Data Research at the University of Northumbria.

Nic Sheen, PhD, is Technical Director of iBase Image System Ltd., Ilkley.

Rupert Shepherd, PhD, (rupert@ferrara.u-net.com) studied Renaissance art history at the University of Essex and the Courtauld Institute of Art in London. He has also worked on database projects of varying scales for the National Gallery, the Curator of Works of Art at the Palace of Westminster, the Association of Art Historians (the Artists’ Papers Register) and the Material Renaissance project. He is currently managing the digitisation of the Ruskin Teaching Collection at the Ashmolean Museum, Oxford, UK.

John Sunderland has been Witt Librarian at the Courtauld Institute of Art in London since 1966. He was involved in such projects as The Witt Computer Index and VAN EYCK. In 1986 the Walpole Society published his catalogue of John Hamilton Mortimer's work. He also wrote on Constable and Chardin and other aspects of English and French art and recently contributed to the catalogue of the Art on Line exhibition to be held at the Courtauld in 2002. He has been Managing Editor of CHArt Journal since 1990.

Annette A. Ward, PhD (award@cs.unm.edu) is currently a Visiting Scholar in the Department of Computer Science at University of New Mexico, USA. Formally, she was a Research Associate at the Institute for Image Data Research (IIDR) at the University of Northumbria, UK.

Andrew Zisserman (az@robots.ox.ac.uk) is Professor of Engineering Science at the University of Oxford, and heads the Visual Geometry Group. His research interests include geometry and recognition in Computer Vision. He has authored over 100 papers and is author/editor of eight books. He has twice been awarded the IEEE Marr Prize.