Professor Emeritus Howard Riley
Studied at Hammersmith College of Art, Coventry College of Art and the Royal College of Art. Holds a doctorate in the practice and teaching of drawing, from the University of Wales. Drawings exhibited in the UK, Finland, Malaysia, Serbia, Colorado USA and Australia.
Has worked in UK art schools, Malaysian Institute of Art, Kuala Lumpur, and Curtin University, Western Australia.
Research publications (see CV) include the pedagogy of drawing; systemic-functional semiotics related to visual arts; multimodality; generative art (see papers at www.generativeart.com); drawing and dyslexia. Howard is a co-editor and contributor to 'Tracey' the online journal of contemporary drawing research: http://lboro.ac.uk/departments/ac/tracey/
He is a member of the steering group of the National Association for Fine Art Education (NAFAE):
http://www.nafae.org.uk
Phone: 07761209350
Has worked in UK art schools, Malaysian Institute of Art, Kuala Lumpur, and Curtin University, Western Australia.
Research publications (see CV) include the pedagogy of drawing; systemic-functional semiotics related to visual arts; multimodality; generative art (see papers at www.generativeart.com); drawing and dyslexia. Howard is a co-editor and contributor to 'Tracey' the online journal of contemporary drawing research: http://lboro.ac.uk/departments/ac/tracey/
He is a member of the steering group of the National Association for Fine Art Education (NAFAE):
http://www.nafae.org.uk
Phone: 07761209350
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Books by Professor Emeritus Howard Riley
Papers by Professor Emeritus Howard Riley
Every doctoral thesis requires contextualisation within its specific discipline’s theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the Analytical philosophical efforts to define art, and the Continental approaches which construe art as social construction. It then reviews a third, normative stance which foregrounds cognitive value before definition or sociological context; an Aesthetic Cognitivist position, art practice as a means of acquiring and sharing experiential knowledge and understanding. Contemporary global concerns about the environment are addressed in detail under the heading Ecological Aesthetics. Somaesthetics is also recognised as a burgeoning field, in the Introduction.
Aesthetic theories are related to visual perception theories as an aid to fulfilling the scholarly requirements for a practice-based thesis.
Every doctoral thesis requires contextualisation within its specific discipline’s theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the Analytical philosophical efforts to define art, and the Continental approaches which construe art as social construction. It then reviews a third, normative stance which foregrounds cognitive value before definition or sociological context; an Aesthetic Cognitivist position, art practice as a means of acquiring and sharing experiential knowledge and understanding. Contemporary global concerns about the environment are addressed in detail under the heading Ecological Aesthetics. Somaesthetics is also recognised as a burgeoning field, in the Introduction.
Aesthetic theories are related to visual perception theories as an aid to fulfilling the scholarly requirements for a practice-based thesis.