Profile: Kevin Hunt
Kevin’s current research relates to interactions between the material and the digital; alternate ways of seeing; and the creative mapping of concepts, spaces and ideas. His essay ‘The Eyes of David Bowie’ features in the edited collection Enchanting David Bowie: Space/Time/Body/Memory (2015) and a collaborative essay with Professor Alison L. Goodrum was included in volume 2 of the edited collection Approaches to Fieldwork (2014) from the series SAGE Benchmarks in Social Research Methods.
Recent publications include online articles in Eye Magazine about Barnbrook Studios’ cover designs for David Bowie’s Nothing Has Changed (2014) album and Phillip D. Stearns’ Glitch Textiles; a column with Flow: Online Journal of Television and Media Studies about Adam Curtis’ Bitter Lake (2015) documentary, discussing the use of a collage-style to show a new way of seeing and understanding political messages; and he has a blog with Huffington Post, where he recently commented on ‘Political Storytelling and the Land of Make-Believe’, Camera, Gun, Eyes: Seeing Fear in the Photography of War’ and ‘ Why Satirical Dismissiveness Dominates Political Imagery’.
Kevin’s initial research at NTU as a Research Fellow resulted in the publication of two articles with Professor Alison L. Goodrum. He has also published an article about John Perivolaris’ photography with Afterimage: The Journal of Media Arts and Cultural Criticism and numerous book and film reviews in various academic and cultural journals.
Ongoing research interests relate to eyes, sight and the senses; urban visual culture and the modern/postmodern city; digital and material relationships; creative mapping of networks, spaces and concepts; and interactions between art and science.
NoteStreams By Kevin Hunt
“At the centre of it all, your eyes, your eyes …”
Many aspects of the life and incredible achievements of David Bowie will be considered in the weeks and months ahead following the news of his death. Yet the cryptic lyric above from the lead single on David Bowie’s new album is a reminder that the unusual appearance of his eyes was a key part of the singer’s star persona.