(4)
Date: Sat, 17 Sep 2005 16:59:22 +1000
From: David Sless <[log in to unmask]>
Dear Ken,
Back in about 1982-3 when I was thinking about
setting up CRIA, one of my research assistants
compiled a bibliography on work done on
evaluating the effectiveness of museums exhibits.
It has sat in a box (card file index) all those
years. I commissioned it because I thought that
was one of the areas of research that CRIA would
become involved in. It never happened. Instead
we got involved in research on forms design for
the public service! But somewhere in our
archives, we have the box. If someone can put it
to good use, we would happily donate it to them.
David
--
Professor David Sless BA MSc FRSA
Director o Communication Research Institute of Australia
o helping people communicate with people o
60 Park Street o Fitzroy North o Melbourne o Australia o 3068
Mobile: +61 (0)412 356 795
Phone: +61 (0)3 9489 8640
web: http://www.communication.org.au
--
(5)
Date: Sat, 17 Sep 2005 10:44:27 +0100
Subject: Museums and so on
From: Deborah Jones <[log in to unmask]>
Hello
In 'One Place After Another; site-specific art
and locational identity'(MIT Press 2002), Miwon
Kwon gives an historical summary of works in
which artists critique the institutional frame of
the museum (focussed on North America. Its quite
brief - a small part of the book, which is more
concerned with art beyond the museum - but it
rightly covers the artists response to
institutions as part of the journey outward.
As a contextual artist, I also find parts of
'Relational Aesthetics' by Nicolas Bourriaud (Les
presses du reel 2002) very interesting on this
general area - though it is again someone talking
about contemporary art practice and how artists
relate to these (and other) contexts, so its not
a logical or thorough analysis. His writing style
- or it could be the translation into English -
was tricky for me, but there are some gems in it
so worth a look, I'd suggest.
Best wishes
Deborah
--
(6)
Date: Sat, 17 Sep 2005 11:35:16 +0200
Reply-To: Olav Velthuis <[log in to unmask]>
Dear Ken,
I just have a book out on the subject: Talking
Prices, published this summer by Princeton
University Press. Accidentally, the Financial
Times today has an article on it in its weekend
supplement (unfortunately only available in the
UK).
The book is mainly a sociological analysis of the
social and cultural meanings which gallery prices
have for artists, collectors, art dealers, and
museums. But chapters of the book delve into the
way social relationships are constructed in the
art world, the way market and gift exchange
interact on the art market, and the solutions art
galleries find to deal with the ever-present
tension between art and commerce (my argument is
that you can 'read' the morals of the market into
the architecture of the art gallery, with its
strict separation of a non-commerical, museumlike
front space, and a backspace where, away from the
public, business is conducted).
Hope this is of interest to you,
Olav Velthuis
--
(7)
Date: Sat, 17 Sep 2005 07:10:15 -0500
From: Christena Nippert-Eng <[log in to unmask]>
Steve Dubin, Displays of Power
Christena Nippert-Eng, Ph.D.
Associate Professor of Sociology
Illinois Institute of Technology
312-567-6812 (office)
--
(8)
From: Alan Murdock <[log in to unmask]>
Subject: Re: Information Request -- Recent Books
and Articles on Museums and Galleries
Date: Sat, 17 Sep 2005 08:13:47 -0700
Ken,
You might take a look at:
The Practical Handbook for the Emerging Artist by
Margaret Lazzari (Wadsworth Publishing, 2001
ISBN: 0155062026)
There is a section for students from BFA and MFA
programs that want to begin curating exhibitions.
It functions on a very practical level - who to
talk to, should you insure, nonprofit and
recently-graduated-curator case studies,
exhibiting performance art and objects, how high
to hang paintings, etc. The book doesn't have an
academic feel, but I think it is a good example
of a cultural text that shows the state of
professional practice for curators at the
beginning of the 21st century.
-Alan
--
(9)
Date: Sat, 17 Sep 2005 17:31:23 +0100 (BST)
From: kristina niedderer <[log in to unmask]>
Hi Ken,
there is some literature by Susan Pearce, which I
read for my PhD. She works in the field of
Material Culture/Museums Studies. For some
references see below.
She has also written a course book for a
distant-teaching course. I have a partial
(unofficial) copy of this at home and can look
the exact title up for you when I am back, if you
are interested.
She might also have published some more
teaching-oriented titles, which I don't know.
some digging on her name might bring up some more
useful results.
all best,
Kristina
Pearce, S. M. 1995. On Collecting. An
Investigation into Collecting in the European
Tradition. London: Routledge.
Pearce, S. M. (ed.). 1994. Interpreting Objects
and Collections. London and New York: Routledge.
Pearce, S. M. (ed.) 1990. Objects of Knowledge.
London and Atlantic Highlands: The Athlone Press.
--
(10)
Date: Sat, 17 Sep 2005 12:18:23 -0400
From: <[log in to unmask]>
Hi Ken,
I've been editing an anthology on curating /
presenting new media for UC Press that covers
some of the topics you seem to be interested in
(see TOC below).
A different version of the essay Charlie Gere
wrote for my anthology is also available at
http://www.tate.org.uk/research/tateresearch/tatepapers/04autumn/gere.htm
(you've probably seen it).
Best,
Christiane
[In press]
Christiane Paul (Editor)
Presenting New Media (working title)
Forthcoming from University of California Press
Berkeley, CA
Table of Contents
Editor's Introduction
*Positioning New Media Art and Curatorial Models
Charlie Gere, New Media Art and the Gallery in the Digital Age
Sarah Cook, Immateriality and its Discontents --
An Overview of Main Models and Issues for
Curating New Media
*Interfacing New Media
Christiane Paul, Challenges for a Ubiquitous
Museum: From the White Cube to the Black Box and
Beyond
Steve Dietz, Curating Net Art: A Field Guide
*From Object to Process and System
Joasia Krysa, Immaterial Production,
Self-Replicating Systems, Re-Distributed Curating
Jon Ippolito, Death by Wall Label
*Autonomous Cultural Zones
Sara Diamond, Participation, Flow, and the
Redistribution of Authorship -- The Challenges of
Collaborative Exchange and New Media Curatorial
Practice
Patrick Lichty, Reconfiguring Curation:
Non-Institutional New Media Curating and the
Politics of Cultural Production
*Case Studies
Beryl Graham, Serious Games
Patrick Lichty, (re)distributions: PDA,
Information Appliance, and Nomadic Arts as
Cultural Intervention
Caitlin Jones and Carol Stringari, Seeing Double:
Emulation in Theory and Practice
Tilman Baumgärtel, Hans D. Christ, and Iris
Dressler, games. Computerspiele von KünstlerInnen
(games. computer games by artists)
--
(11)
Date: Sun, 18 Sep 2005 08:50:27 +1200
From: "Bathurst, Ralph" <[log in to unmask]>
Hi Ken
I have recently read a comprehensive arts
management text that covers elements of
marketing, strategy, purpose for art etc. that
might be worth a look. Derek Chong wrote his
piece out of museum work so it might have some
relevance? He also spends some time on the
critical issues via Bourdieu and Haacke
Chong, D. (2002). Arts management. New York: Routledge.
Regards
Ralph
Ralph Bathurst
Lecturer
Department of Management & International Business
Massey University, Albany Campus
Private Bag 102 904, North Shore MSC
Auckland
New Zealand
Email [log in to unmask]
Phone + 64 9 4140800 Ext. 9570
Date: Sun, 18 Sep 2005 09:26:05 +1200
From: "Bathurst, Ralph" <[log in to unmask]>
..... here is a sample of stuff that attracted my
attention. All the notes are direct quotes with
pages numbers.
Abstract
1. Introduction -
2. Arts research -
3. Cultural entrepreneurship --
4. Collaborations in the arts -
5. Artistic leadership -
6. Strategic positioning and brand identity -
7. Arts marketing and audience development -
8. Management by numbers -
9. Raising funds and financing -
10. Organizational forms and dynamics
Notes
Critics identify the arts-business relationship
as an 'exchange of capital: financial capital on
the part of the sponsor and symbolic capital on
the part of the sponsored' (Bourdieu & Haacke
1995, p. 17); and corporations understand the
commercial value to be gained by an association
with cultural capital (Bourdieu, 1984). (p.43)
American Context Arts sponsorship was presented
as one relatively inexpensive way of regaining
public support. Furthermore there are often
undisclosed personal benefits to the senior
executives who make decisions about business
support to the arts such as accumulating social
prestige and displaying 'good taste' (e.g.
Bourdieu & Haacke 1995). (p. 49)
Haacke's critique complements Erik Barrouw's The
Sponsor (1978) and has much in common with what
sociologist Herbert Schiller describes as 'the
corporate takeover of public expression'
(Schiller 1989). (p.49)
Haacke direct quote. In the 1960s the more
sophisticated among business executives of large
corporations began to understand that the
association of their company's name - and
business in general - with the arts have
considerable and long-term benefits, far in
excess of the capital invested in such an effort.
(Haacke 1981, p. 56)
Direct quote The more the interests of cultural
institutions and business become intertwined the
less culture can play an emancipatory, cognitive,
and critical role. Such a link will eventually
lead the public to believe that business and
culture are natural allies and that a questioning
of corporate interest and conduct undermines art
as well. Art is reduced to serving as a social
pacifier. (Art in America, May 1990). (p.50)
Decentralization offers local units power and
autonomy for some kind of self-organizing
activity; at the same time, a measure of central
control is retained. Consider the example of the
Pittsburgh Symphony Orchestra (PSO) which has
adopted hoshin (the 'shining needle' that points
the way), a management process from Japan
designed to make decision-making more democratic
(see the Financial Times, 27.28 May 2000). In
1997, the PSO faced a shortage of cash and the
management found itself unable to accommodate a
new trade agreement that the musicians found
acceptable. A board member first mooted hoshin as
a possible solution to money and management
problems. With the support of the managing
director, Gideon Toeplitz, and the then incoming
music director, Mariss Jansons, a hoshin retreat
was organised with the PSO's main constituencies:
musicians, administrative staff, volunteers, and
board members. Musicians gain input to board
decisions; volunteers develop closer relations
with staff and management; board members get to
know the musicians that have been listening to;
and management get input from all sides.
Essentially a process of democratization, the
hoshin process seeks to bring together groups
that would normally operate independently, to set
common goals and help each other work towards
them. According to Toeplitz, 'Looking back, the
biggest change we had to go through was giving up
some control. For managers like us, this is very,
very difficult to do'. (p.69)
The management truism, 'change is the only
constant', applies to arts organizations. An
aesthetic leader with management skills is a
coveted individual. Adopting a bifurcated
management structure, with dual executive
positions, is one alternative solution.
'Imaginization' concepts associated with Gareth
Morgan are examined: the (now annual) 'New
Displays' exhibition was initiated by Nicholas
Serota, who sought to generate organizational
change at the Tate Gallery; and hoshin represents
an example of the Pittsburgh Symphony Orchestra's
desire to be more flexible and innovate. (p. 70)
(p. 131 Header)
Institutional isomorphism
Is there sufficient homogeneity of form and
practice amongst opera houses to suggest that
they represent a distinct institutional form? Can
the like be said of television stations? This
issue of institutional isomorphic change has been
examined by sociologists Walter Powell and Paul
DiMaggio. Unlike Max Weber, to whom an explicit
reference is made in their 1983 essay, 'The iron
cage revisited', Powell and DiMaggio contend that
'bureaucratization and other forms of
organizational change occur as the result of
processes that make some organizations similar
without necessarily making them more efficient'
(Powell and DiMaggio 1991: 64). They argue that
bureaucratization and other forms of
homogenization emerge out of the structuration of
organizational fields. The desire is not to
explain variation among organizations in
structure and behaviour; rather Powell and
DiMaggio seek to understand why there is such
startling homogeneity of organizational forms and
practices. Isomorphism 'is the concept that best
captures the process of homogenization'; it is 'a
constraining process that forces one unit in a
population to resemble other units that face the
same set of environmental conditions' (Powell and
DiMaggio 1991: 66). Powell, W. and DiMaggio, P.
(eds) (1991) The new institutionalism in
organisational analysis, Chicago and London:
University of Chicago Press. Three mechanisms by
which institutional isomorphic change takes place
are identified: coercive, mimetic, and normative.
Coercive isomorphism results from both formal and
informal pressures exerted on organizations by
other organizations upon which they are dependent
and by cultural expectations in the society
within which they function. The greater the
dependence of one organization on another (A-1)
or the greater the centralization of an
organization's resource supply (A-2), the more
similar it will become to the dominant
organization or resource supplier in structure
and focus. Many conventional arts organizations,
like art museums and opera houses, have
internalized the external bureaucratic
environment by incorporating in their structures
administrators responsible for retailing,
fund-raising, and marketing. This suggests that
art museums and opera houses, for example, grow
administratively and hierarchically in complex
environments that are abundant in resources.
Transactions within a complex environment
increase the tendency of the organization to
formalize and amplify its administrative
functions. With reference to nonprofit arts
organizations in the USA, sociologist Richard
Peterson has described the internal and
extra-organizational factors that 'typically
operate in concert, mutually reinforcing the
drive toward formal accountability and increasing
the need for arts managers with the orientation
and skills of art administrators' (Peterson 1986:
175). Internal factors - growth in size,
increasing task complexity, organizational life
cycle, and the income gap associated with Baumol
and Bowen - have been working to
(p. 132 Header) Organizational Form and Dynamics
encourage greater bureaucratization in individual
organizations (Peterson 1986: 169).
Extraorganizational factors are important because
institutional funders (whether government bodies,
private foundations, or corporate sponsors),
private patrons, or the market (as regards earned
income and audience figures) increasingly hold
arts managers formally accountable for actions
taken in the name of the arts organization.
The funding environment is the culprit, according
to research by McKinsey: 'All organizations - for
profit or not - are shaped by those who fund
them' (Lowell et al. 2000: 148). For example,
Internet start-ups reflect the complexion of the
venture capitalists who provided capital funding.
Non-commercial organizations have fared less
well: 'Nonprofits typically rely on grants and
donations' (Lowell et al. 2000: 148). Most donors
take 'a project-based rather than an
organization-building approach to philanthropy'
(Lowell et al. 2000: 149); and corporate sponsors
also tend to focus on specific programmes. This
means that nonprofits are discouraged from
investing in organizational infrastructure (e.g.
IT systems, staff development processes, and
adequate management capacity). Managers may spend
too much time following the money by adding
programmes to obtain a particular grant even if
the fit to the organization's mission is not
great. The availability of new funding in the UK
from the National Lottery meant that arts
institutions had to learn to apply for this
money. Large amounts were directed into
capitalizing public arts projects and events.
Institutions without substantial reserves or
income found it harder to apply, especially since
no funding was set aside for maintenance or lost
revenue.
Mimetic isomorphism results from standard
responses to uncertainty, given that uncertainty
represents a powerful force that encourages
imitation. An organization will model itself
after organizations it perceives as successful,
the more uncertain the relationship between means
and ends (A-3) or the more ambiguous its goals
(A-4). For example, the institutional formation
of the V&A (as the Museum of Manufacturers and
later the Museum of Ornamental Arts), in the
direct aftermath of the 1851 Great Exhibition,
devoted attention to decorative and industrial
arts; in Philadelphia, following the 1876
Centennial Exhibition, the Pennsylvania Museum
and School of Industrial Arts (now the
Philadelphia Museum of Art) was created with the
British example in mind, namely with the value of
the industrial arts deemed as educational and
commercial. Likewise, the (English) Arts and
Crafts movement was an important influence on
decorative arts in Montreal. The MMMFA is
explicit in acknowledging decorative arts
alongside painting and sculpture.
Much of the homogeneity in organizational
structures stems from the fact that, despite a
search for diversity, there is relatively little
variation from the pool of generally acceptable
alternatives. Large arts organizations choose
from a relatively small set of international
accountancy and consultancy firms using a limited
number of organizational models. Under the
conventional wisdom that 'institutions trust
institutions', corporate sponsors (as represented
by Fortune 500 or FSTE 100 firms) tend to have
similar aims and look for equally 'blue chip' art
organizations for relationships. Hans Haacke
criticized the alliance between the Metropolitan
Museum and Mobil Oil, in MetroMobiltan (1985), by
highlighting the multinational's commercial
interests in South Africa under apartheid. It is
not
(p. 133 Header) Organizational forms and dynamics
133 surprising that Ernst & Young sponsored
popular exhibitions at the Tate Gallery (e.g.
Picasso, Cezanne, and Bonnard) and the Royal
Academy of Arts (namely Monet). Capital projects
remain a catalyst for rejuvenation, galvanizing
support, and serving as a rallying point for key
supports. Endowment funding is viewed by some as
offering more financial stability to arts
organizations, hence a push to adopt the
fund-raising practices associated with the
wealthiest private universities in the USA.
Normative isomorphism stems primarily from two
aspects of professionalization: one is the
resting of formal education and legitimation in a
cognitive base produced by university specialists
(A-5); the second is the growth and elaboration
of professional networks that span organizations
and across which new models diffuse rapidly
(A-6). Elite academic recognition still matters:
from an anecdotal perspective, many art museum
directors in the UK have studied at Oxbridge or
the Courtauld; reading art history at Williams
College has a similar significance in the USA.
The result from the two aspects of
professionalization is to create a pool of almost
interchangeable individuals who occupy similar
positions across a range of organizations and
possess a similarity of orientation and
disposition that may override variations in
tradition and control that might otherwise shape
organizational behaviour. (Powell and DiMaggio
1991: 71)
The filtering of personnel is an important
mechanism for encouraging normative isomorphism.
'Many professional career tracks are so closely
guarded, both at the entry and throughout the
career progression, that individuals who make it
to the top are virtually indistinguishable'
(Powell and DiMaggio 1991: 71). Furthermore:
The professionalization of management tends to
proceed in tandem with the structuration of
organizational fields. The exchange of
information among professionals helps contribute
to a commonly recognized hierarchy of status, of
center and periphery, that becomes a matrix for
information flows and personnel movement across
organizations. This status ordering occurs
through formal and informal means. (Powell and
DiMaggio 1991: 72)
The case of Elizabeth Esteve-Coll, who left the
V&A in 1995 during her second term as director to
become one of the few women vice-chancellors in
the UK, addresses gender imbalances: it also
highlights an individual with a non-traditional
background who became director of a major art
museum. Esteve-Coll was educated as Darlington
Girls High School and completed her BA at
Birkbeck College (i.e. the University of London
college which caters to mature students) in 1976.
Her primary career experience before moving to
the V&A, in 1985, as keeper of the National Art
Library was in higher education (head of learning
resources at Kingston Polytechnic and then
university librarian at the University of
Surrey). In 1988, Esteve-Coll was appointed
director of the V&A; the first woman
(p. 134 Header) Organizational forms and dynamics
134 to head a 'national museum and Qallery' in
the UK. Media attention by those hostile to her
appointment became even more barbed and
aggressive following the proposed 1989
restructuring, which focused on her background as
a librarian without significant art history and
curatorial experience. The 'femme-to-femme'
comparison made by Sir John Pope-Hennessey
(former director of the British Museum and the
V&A) was a classic case of vitriol:
There is an excellent precedent for appointing a
woman as director: one of the most efficient and
successful is Anne d'Harnoncourt, the director of
the Philadelphia Museum of Art. I do not know
Mrs. Esteve-Coll personally, but she is clearly
in an altogether different and inferior class. .
. . It would be generally conceded that there is
a point beneath which no museum should debase
itself. But not Mrs. Esteve-Coll, who with a
crude publicity campaign and exhibitions like
that of the collection of Elton John, has added a
new meaning to the phrase, 'She stoops to
conquer'.
(New York Review of Books, 27 April 1989: 13)
Ralph Bathurst
Lecturer
Department of Management & International Business
Massey University, Albany Campus
Private Bag 102 904, North Shore MSC
Auckland
New Zealand
Email [log in to unmask]
Phone + 64 9 4140800 Ext. 9570
--
(12)
Date: Sun, 18 Sep 2005 10:03:05 +1000
From: "Daria Loi" <[log in to unmask]>
Dear Ken,
these are text I used and enjoyed in the past
(attached, the Endnote file) - they are related
in different ways to some of the themes you
identified:
Alexander, E. P. (1979). Museums in motion: an
introduction to the history and functions of
museums. Nashville: American Association for
State and Local History.
Asma, S. T. (2001). Stuffed Animals and Pickled
Heads - The culture and evolution of natural
history museums. Oxford: Oxford University Press.
Daston, L. J., & Park, K. (1998). Wonders and the
order of nature, 1150-1750. New York, London:
Zone Books; Distributed by MIT Press.
Greenblatt, S. (1991). Marvelous possessions: the
wonder of the New World. Oxford ; New York:
Clarendon Press.
Impey, O., & MacGregor, A. (1985). The Origins of
museums: the cabinet of curiosities in sixteenth
and seventeenth-century Europe. Oxford
[Oxfordshire], New York: Clarendon Press; Oxford
University.
Lugli, A. (1986). Inquiry as Collection: The
Athanasius Kircher Museum in Rome. Res 12,
Autumn, 109-124.
MacGregor, A., & Ashmolean Museum. (1983).
Tradescant's rarities: essays on the foundation
of the Ashmolean Museum, 1683, with a catalogue
of the surviving early collections. Oxford
[Oxfordshire], New York: Clarendon Press; Oxford
University Press.
Mauriès, P. (2002). Cabinets of curiosities. London: Thames & Hudson.
Weschler, L. (1995). Mr. Wilson's Cabinet of
Wonder. New York: Vintage Books. (this is lighter
but wondrous reading about a contemporary Cabinet
of Wonders in L.A.)
I hope this can help somehow.
Best Wishes,
Daria
ps I didn't forget of sending you my thoughts
about the article you emailed me a few weeks ago
- some of the notions you put forward and their
implications require extra head/reflective
space... soon...
d å r i a l o i , p h d
RMIT University
Senior Research Fellow @ Globalism Institute
Lecturer and International Coordinator @ Industrial Design
Ph. +61 3 9925 5337 (ID) 9925 2539 (GIobalism Institute)
Fax: +61 3 9925 5342
email: [log in to unmask]
http://www.darialoi.com
http://dariasuitcase.blogspot.com/
--
(13)
From: Stine Hoholt
Dear Ken
Thank you for your email - I will answer from my
dkds-email, but as you may know I have changed
job and email. I now work as head of the Arts
Department and the School Services at ARKEN
Museum of Modern Art - new mail is
[log in to unmask]
It has been a while since I last read a lot on
museology, but I can recommend: Eilean
Hooper-Greenhill, Museums and the Shaping of
Knowledge (Routledge, 1992) and the article by
Andreas Huyssen, "Escape from Amnesia: The Museum
as Mass Medium" (Routledge, 1995).
If you need a lecturer for one session, I would
recommend my highly esteemed colleague, Vibeke
Petersen, who is director of exhibitions at the
Oslo Art Museums. She has taught museology at the
Copenhagen University. If you have the
possibility of flying in people from the US, I
have some very good names, from a course in I
took there in Art Museum Management.
Also you can ask both Copenhagen and Aarhus
university (Ane Hejlskov Larsen) for their
required reading in their museology courses.....
Best regards,
Stine
--
(14)
Date: Sun, 18 Sep 2005 14:47:26 +0100
From: Michael A R Biggs <[log in to unmask]>
Dear Ken
I recommend
http://www.amazon.co.uk/exec/obidos/ASIN/0631228306/qid=1127051207/sr=8-1/ref=sr_8_xs_ap_i1_xgl/026-7010401-1174869
Michael
Museum Studies in Context: An Anthology
Bettina Messias Carbonell
Paperback 680 pages (September 3, 2003)
Publisher: Blackwell Publishing
ISBN: 0631228306
Synopsis
The explosive popularity of museums has made
museum studies one of the most productive and
exciting intellectual and pedagogical sites for
historians and art historians, anthropologists,
archaeologists, and critical theorists. Museum
Studies: An Anthology of Contexts provides a
comprehensive interdisciplinary collection of
approaches to museums and their relation to
history, culture, philosophy, and their adoring
or combative publics. An indispensable text for
teaching museum studies in today's classroom,
Museum Studies brings together for the first time
a wide array of texts that mix contemporary
analysis with classic, historical documentation.
Offering encyclopedic coverage of the issues
critical to the rise and role of the museum -
history and development: relation to society: the
ethics of classification, exhibition, and
exclusion: the representation of cultures:
property and ownership: the poetics of display:
material culture and historical documentation:
tradition, innovation, and self-reflexivity in
museum practice - this is the most comprehensive
and ambitious volume available on museum studies.
The Anthology opens with an introductory essay
that provides vital background and situates
museum studies in a truly interdisciplinary
context. Each section includes an opening essay
that guides the reader through the selections
while the volume's bibliography provides a list
of resources devoted to museum studies.
Dr Michael A R Biggs
Professor of Aesthetics and Associate Dean Research
Faculty for the Creative and Cultural Industries
University of Hertfordshire
College Lane, Hatfield, AL10 9AB
UK
T 00 44 (0)1707 285341
F 00 44 (0)1707 285350
E <[log in to unmask]>
http://www.herts.ac.uk/artdes1/research/tvad/biggs1.html
For information about University research in art and design visit
http://www.herts.ac.uk/artdes1/research/
For information on the Research into Practice conference 2006 visit
http://www.herts.ac.uk/artdes1/research/res2prac/confhome.html
--
|
