Martyn Woodward

PhD researcher
University of Plymouth

Martyn Woodward is a doctoral researcher working within the visual arts, trained within visual communications design, with a parallel in film and media studies. He has been researching the limits/ limitations of understandings of visual communication since 2004. He began his Ph.D in October 2008 at the University of Plymouth with a research focus on developing new strategies for Visual Communication which are analogous with the emerging research into the Embodied human condition. His research is philosophically and historically situated, taking a transdisciplinary approach, focusing upon the perceptual and cognitively discursive experiences of audiovisual media forms in relation to issues of imagination, creativity, perception and agency. He is also the research Assistant on the HERA joint research project, ‘Technology Exchange and Flow’ based within Transtechnology research. Previous to this Martyn studied at the University of Wales in Newport, Obtaining a Bachelor‚ Degree in Graphic Design / Visual Communication in 2005 and his Masters in Design in 2007.

Research Interests: 

This research explores the theoretical and philosophical territory around the nature of human creativity and perception for theoretical application within the visual arts. It draws upon literature from a diverse range of disciplines including the visual arts, film studies, philosophy of mind, anthropology, cognitive science, art history and process philosophy, through a transdiciplinary account of human perception and creativity, which aims to bring to light new and novel concerns for application within the domains of the visual arts and humanities.

This research is primarily engaged with the recovery of the metaphysical, perceptual and experiential dimensions of visual style as they permeate across the domains of the humanities, within high art, popular culture, and design, specifically as traced during the period of the late nineteenth, early twentieth century. The research engages with the question of how the theory, practice and history of the visual arts might begin to come to terms with a challenge poised by contemporary philosophical movements within a new materialism, which have begun to question the disciplinary, thematic and geographical boundaries of a materialist visual art history.


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