Professor Robert Pepperell PhD

Screen-shot-2011-06-24-at-12.19.34-150x100.pngPhD
e: rpepperell@cardiffmet.ac.uk
t: 02920 416666
w: https://cardiffmet.academia.edu/RobertPepperell |
https://www.researchgate.net/profile/Robert_Pepperell

Specialist Subject Areas

Fine Art
Art and the science of perception
Consciousness
Posthumanism

Qualifications

PhD
BA Fine Art

Biography

Robert Pepperell studied at the Slade School of Art. He has exhibited at Ars Electronica, the Barbican Gallery, Glasgow Gallery of Modern Art, the ICA, and the Millennium Dome, and published several books, including The Posthuman Condition (1995 and 2003) and The Postdigital Membrane (with Michael Punt, 2000), as well as articles, reviews and papers. He is currently Professor of Fine Art and Head of the Fine Art Department at Cardiff School of Art & Design, where he runs FovoLab (www.fovography.com).

Current positions:
Executive Editor of the journal Art & Perception
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

Current research

My current research combines methods from art and science to investigate the nature of visual experience and how it can be represented. I am working with a team of co-researchers, including Alistair Burleigh Joe Baldwin, Nicole Ruta and Richard Vigars, to develop a new form of pictorial perspective based on the phenomenology of visual perception. For hundreds of years our culture has relied on the principles of linear perspective to represent the visual world, and this has underpinned our general approach to image making and image technology. However, as we have shown through our research, linear perspective fails to capture key aspects of visual experience. Alternative methods of depicting visual space, many of which have been developed by artists, are more accurate. The goal of our research is to enrich our understanding of how we perceive the world by combining knowledge from science and the arts. We are developing various forms of new media that exploit this knowledge, working to create a form of ‘synthetic vision’ with applications in advertising, gaming, communications, cinematography, and medicine.

Principal Publications, Exhibitions and Awards

Click here to view Professor Pepperell’s papers and publications on Cardiff Metropolitan University’s DSpace repository.

Publications

Zhu, Z., Martin, R., Pepperell, R., Burleigh, A. & Hu, S. (in press). 3D Modeling and Motion Parallax for Improved Videoconferencing. Computational Visual Media.

Pepperell, R. (in press). The World as Memory, in Memory in the Twenty-first Century: Critical Perspectives from the Sciences and Arts and Humanities, Sebastian Groes (ed.). London: Palgrave Macmillan.
 
Koenderink, J., van Doorn, A., Pinna, B. & Pepperell, R. (2016). Armchair perspective preferences, Art & Perception, 4(1).
 
Koenderink, J., van Doorn, A., Pinna, B., & Pepperell, R. (2016). On right and wrong drawings, Art & Perception, 4(1).
 
Pepperell, R. (2015). Artworks as Dichotomous Objects: Implications for the scientific study of aesthetic experience, Frontiers in Human Neuroscience, http://dx.doi.org/10.3389/fnhum.2015.00295.
 
Pepperell, R. and Hughes, L. (2015). As Seen: Modern British Painting and Visual Experience. Tate Papers, Spring 2015.
 
Pepperell, R. & Ishai, A. (2015). ‘Indeterminate Artworks and the Human Brain’, Art, Aesthetics and the Brain, eds. M. Nadal, J. Houston, L. Agnati, F. Mora and C. J. Cela Conde. Oxford: Oxford University Press, pp. 143-153.
 
Pepperell, R. (2015). Egocentric perspective: Depicting the body from its own point of view, Leonardo 48(5), pp. 424-429.

Pepperell, R. and Burleigh, A. (2014). Improvements in and relating to image making. International Patent Treaty Cooperation, WO2014122477 A1.

Baldwin, J, Burleigh, A. and Pepperell, R. (2014). Comparing artistic and geometrical perspective depictions of space in the visual field. i-Perception. Vol. 5, pp. 536-547.

Pepperell, R and Haertel, M. (2014). Do artists use linear perspective to depict visual space? in Perception, 43(5), pp. 395-416

Green, J. and Pepperell, R. (2013). How can visual experience be depicted? A study of close-up double vision, in Arts and Humanities in Higher Education.

Pepperell, R. and Ruschkowski, A. (2013). ‘Double Vision as a Pictorial Depth Cue’, in Art & Perception 1:1.

Manzotti, R. and Pepperell, R. (2013). ‘Denying the content-vehicle distinction: a response to ‘The New Mind Revisited’, in AI & Society, 28:4.

Muth, C., Pepperell, R. and Carbon, C. C. (2013) ‘Give me Gestalt! Preference for cubist artworks revealing high detectability of objects’, in Leonardo, 46:5.

Pepperell, R. (2012) ‘Art and Externalism’, Journal of Consciousness Studies, Vol. 19, No. 11, Pp. 107-127.

Pepperell, R. (2012) ‘The Perception of Art and the Science of Perception’, in Human Vision and Electronic Imaging XVII, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, Huib de Ridder, Proc. of SPIE-IS&T Electronic Imaging, SPIE Vol. 8291, 829113.

Manzotti, R. and Pepperell, R. (2012) ‘The New Mind: Thinking beyond the head’, AI & Society.

Pepperell, R. (2012) ‘Indeterminacy and Realism in Cinema and Art’ in Realism After the European Avant-Garde, ed. Ohlschlager, C.,
Perrone Capano and Borso, V., Verlag Transcript: Bielefeld.

Pepperell, R. (2011) ‘Connecting Art and the Brain’, Frontiers in Human Neuroscience.

Pepperell, R. (in press) ‘Art and the Extended Mind’ in Aesthetics Beyond the Skin, Exeter: Imprint Academic.

Pepperell, R. (2010) ‘Art Connections to Literature and Science’, in The Routledge Companion to Art, Literature and Science. London: Routledge.

Pepperell, R. (2009). ‘The Conscious Act of Looking at a Painting’ in Consciousness Literature and the Arts, Vol. 10 No. 2.

Pepperell, R. (2009). ‘An Information Sublime’, 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., Kürner, 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., Kürner, C., Pepperell, R and Bülthoff, 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 l’umano, 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.

Talks
(2014) ‘Do artists use linear perspective to depict visual space?’ Visual Science of Art Conference, Belgrade.
(2014) ‘Art and Perception as Deception’ Natural History Museum, Oxford.
(2013) ‘Art and visual perception’ European Conference on Visual Perception, Bremen.
(2012) ‘Depicting the Visual Field in Science and Art’, European Conference on Visual Perception, Alghero, Italy.
(2012) ‘Depicting Visual Perception in Science and Art’, First Visual Science of Art Conference, Alghero, Italy.
(2012) ‘The art of perception and the perception of art’ International Symposium of Art and Perception, Institute for Advanced Studies, Paris.
(2012) ‘Rethinking Posthumanism’, Rethinking Humanism, University of St. Andrews.
(2012) The Perception of Art and the science of perception, Human Vision and Electronic Imaging XVII, SPIE, San Francisco.
(2011) Art, Neuroscience and Ontology, Psycho-Ontology Conference, Jerusalem.
(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., Kürner, C., Pepperell, R and Bülthoff, 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., Kürner, C., Pepperell, R and Bülthoff, 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, Tübingen, Germany.
(2006). Art and Perception. Science in the Dock – Art in the Stocks, National Science Week, Exeter University.

Awards

Research and Enterprise Investment Fund Award, 2014
Academia for Business Award (Wales Government/EU), 2014
Paul Mellon Research Grant (with Dr Louise Hughes), 2014
Research and Enterprise Investment Fund Award, 2013
Research and Enterprise Investment Fund Award, 2012
Academia for Business Award (Wales Government/EU), 2012
SIP with Latcham Direct Ltd, Bristol, 2011
Reverse SIP with Chaos Trend Ltd., Swansea, 2011
Enterprise and Research Award, 2011
Academics for Business Award, 2010
KESS PhD scholarship, 2011-14
Access to Masters Scholarship, 2010-11

Enterprise Projects and/or Industrial links

Fovography: Developing a new form of image media based on the phenomenology of visual perception. Currently funded by a 3-year award from Cardiff Metropolitan University.

Modules Taught

PhD Programme (10 students)
Fine Art Masters (MA and MFA)
BA Fine Art

Supervision of Doctoral Research (titles or broad areas of investigation):
Alise Piebalga: Hybrid Art and Posthumanism
Chris de Selincourt: Where is the mind of the cinema editor?
Craig Thomas: Pre-reflective art
Joe Baldwin: New methods of depicting visual perception
Theo Humphries: Humour and design
Paul March: The shock of the unclear