Higher

Conducting a seminar at the School of Education, Leicester Polytechnic,  (now DeMontfort University), 1986

After holding senior posts with the Open University and the CNAA I become an inspector with the British Accreditation Council and undertook consultancy for independent higher education institutions.

On graduating from the Royal College of Art in the Sixties I joined a team led by Roy Ascott, who was pioneering a radical new approach to fine art studies in higher education at Ipswich; during that period I established a studio in Camberwell and exhibited a number of large 'minimal' sculptures.

At the beginning of 1968 I developed Gemini, the first of a series of interactive works, and the next year led a team that took Interplay to the VI Paris Biennale.  In 1970 this new art form was jointly discussed and demonstrated with Ernest Edmonds, (Datapack; Cornock and Edmonds, 1973).

Meanwhile, I established a Media Handling Area to open the use of 20th century media to students of fine art, working with staff and students of fine art, mathematics, design, architecture and computing.

Systems thinking provided the theoretical underpinnings to interactive art practice whose development was inhibited by the lack of an arts research council (the Arts and Humanities Research Council was launched in April 2005)  prompted a research apprenticeship with Peter Checkland (Professor of Systems at Lancaster University.  That work laid the foundations for a study of the way in which art students learn, and a theory of drawing.