Who's Who


Bobbie Millar

Bobbie Millar (Ruskin Rocks Project Coordinator) is a senior academic administrator with comprehensive knowledge of working in interdisciplinary teams in the arts, sciences, engineering, education and healthcare. She has been awarded funding for interdisciplinary projects from UK Research Councils (ESRC, EPSRC, AHRC) and the Minerals Industry Research Organisation (MIST programme)) and Natural England (NE)  through Defra's Aggregate Levy Sustainability Fund with a range to academic, industrial and community partners.

The Yorkshire Quarry Arts projects funded by MIST and NE are particularly innovative and imaginative in their  approach to creativity in the landscape and in particular to quarries and the quarrying industry.

She has extensive experience in a range of higher education institutions including department, staff and project management; educational and organizational development, review and validation; teaching and lecturing (in dance, physical education and teacher education); research and knowledge exchange.

Bobbie is currently in the Faculty of Environment at the University of Leeds and is coordinator for Inter-Faculty Initiatives. She is also Deputy Chair of the Centre for Heritage Research, Chair of the Landscape and Arts Network and a member of the Laban Guild Council.


Kirsty Schofield

Kirsty Schofield (Ruskin Rocks Project Assistant) gained a First Class BA Honours degree in Sociology in 2009 at the University of Leeds. In her third year Dissertation Kirsty chose to research the fragmentation of culture, specifically music, with reference to postmodernism, globalisation and localisation.

As part of an Internship at the University of Leeds, Kirsty contributed to a Transformation Fund bid for the interdisciplinary initiative ‘Future Cities', based in Earth and Environment. 

From 2005 to 2006 Kirsty was an AimHigher Ambassador for Minsthorpe Community College. The aim was to encourage young adults from all backgrounds to continue on into further education by giving support and advise every few weeks through fun activities.



Professor Bruce Yardley

Bruce is Professor of Metamorphic Geochemistry, in the School of Earth and Environment at the University of Leeds. His research interests are in fluid processes in the Earth's crust, and span a wide range of topics including aspects of ore formation, metamorphism and carbon sequestration. He is particularly interested in rock textures, which provides a close link to sound properties. The techniques that his research group employ include field and petrographic observations, rock and mineral analysis and geochemical modelling of fluid rock interaction. He has been Principal Investigator on numerous projects funded by the Natural Environment Research Council (NERC) and the European Union (EU) and has extensive links across the geological community, having served as Science Secretary of the Geological Society of London and President of the European Association of Geochemistry.



Dr Rebecca C Hildyard

Rebecca gained a first class Masters degree in geology at the University of Liverpool in 2002.  During the course of her undergraduate degree Rebecca undertook many field-based studies including Skye, NW Scotland, Pembrokeshire, the French-Italian Alps, Donegal, NW Ireland, and Cantabria, NW Spain.  Following this she spent three years working as a geologist for various consultancies in South Africa.  The consultancy work ranged from geological services to coal, gold and platinum mines to programmes of testing and monitoring of timber mine support.  Following this Rebecca spent two years as a research field geologist in Liverpool studying volcano-tectonic faults and pseudotachylites (friction melts) at Glencoe in NW Scotland.  Subsequent to this she undertook PhD research investigating the microstructures and deformation mechanisms of the calcium sulphate minerals gypsum, anhydrite and bassanite.  The work made use of a technique called Electron Backscatter Diffraction (EBSD) carried out in a Scanning Electron Microscope (SEM) to measure the crystallographic orientation of individual crystals; the PhD was completed in October 2009.


Dr Murray Mitchell

For 30 years I worked on the fossils from the Carboniferous Limestone for the British Geological Survey. I took early retirement in 1986, and since then I have been a visiting Research Fellow in the School of Erath and Environment at the University of Leeds.

During retirement I have published, jointly with F.G Drimes the ‘Building Stone Heritage of Leeds' (1st edition 1996, 2nd edition 2006). From 1995-2000, I worked on a National Trust Project to report on the building Stone was in all their Lake District buildings. In 2004 I published a joint walking guide with Michael Dewey- ‘Geology, Scenery and History.  A walk in Yewdale, northeast of Cumbria'.

Three generations of the Mitchell family have spent much time in this Lake District with particular interest in the Geology, and with many holiday in the Coniston area.

I became involved with the Ruskin Rocks Project after work for the Yorkshire Quarry Arts Project which included the study of the musical stones of Ingleton.


Dr Alan Smith

Dr. Alan Smith holds degrees in the Earth Sciences from the Universities of Manchester and Bristol. He is now retired from an academic career involving University teaching and work in the Higher Education sector, culminating in College management and the post of Principal of N. Cheshire College of H.E.(now merged into the University of Chester).

His long standing interest in Lake District geology and geomorphology goes back to post-graduate research on the area many years ago. He has written several books, papers and guides on Lakeland Geology. His recent books include ‘The Rock Men: Pioneers of Lakeland Geology' and a series produced by his own publications company (Rigg Side Publications) on ‘The Landscapes of Cumbria'. He is a past General Secretary and Past President of the Cumberland Geological Society. He lives in Keswick.


Dr Eric Johnson

My interest in the Lake District and its geology began on expeditions there as a school boy where I was attracted to places such as the Langdale stone axe factory, Seathwaite graphite mine and the ‘crystal cave' of Keswick Museum with its amazing rock xylophone.

I studied Geology at Queen Mary College London and continued there for a Ph D working on high-grade metamorphic rocks in South Norway. I then joined the Leeds office of the British Geological Survey in 1975 and spent my career as a field geologist working on Palaeozoic rocks in northern England . Initially, I worked on carbonate and deltaic successions in the Yorkshire Dales before moving on to resurvey work in the Lake District . There I pursued research in physical volcanology whilst mapping the Borrowdale Volcanic Group of rocks.

Since retirement I have done some freelance work for the extractive industry. I enjoy leading field meetings for local geological societies and interest groups. Most recently I have completed a Geodiversity project – Millom Rock Park - that explains how rocks are formed and are related to the landscape, natural resources and the local community.



Dr Kia Ng  PhD, FRSA, FIoD, CEng, CSci 

Kia is director of the Interdisciplinary Centre for Scientific Research in Music at the University of Leeds. Kia involves in several research domains relating to 2D and 3D imaging including multi-modal analysis, gestural interfaces, interactive multimedia, digital preservation, computer vision and computer music, in collaboration with many European and international organisations and individuals in the field. Selected projects include i-Maestro on technology-enhanced learning (Coordinator), CASPAR on digital preservation and AXMEDIS on cross-media (Principle Investigator) with over 20M Euro research funding.

Kia has also worked on automated recognition and restoration of printed and handwritten music manuscripts, paper texture and watermark analysis. His Music via Motion (MvM) system allows users real-time control of musical sound using their physical movement.

Kia has more than 150 publications and presented talks in over 30 countries including keynotes and invited lectures in Canada, China, France, Germany, Japan, UK, and USA. He has appeared on television and radio interviews such as BBC, Sky, and has been featured in the New York Times, Guardian, Financial Times, Sound on Sound, Photonics Spectra and others. Kia has also organised over 15 international events including conferences, exhibitions and a convention. Web: www.kcng.org


Christopher Ellison BSc MMus

Chris graduaded from the University of Edinburgh with a degree in Physics in 1995 and subsequently worked in the field of Medical Physics and Engineering for over a decade. In 2009 he completed a masters degree in Music Technology and Computer Music at University of Leeds, graduating with distinction. He has since assisted Dr. Kia Ng on the Ruskin Rocks project, based at the Interdisciplinary Centre for Scientific Research in Music (ICSRiM), University of Leeds. His primary contribution to the project has been the creation of a software interface for the interactive iRock instrument using Max/MSP/Jitter, to enable natural vibrations from the instrument's stone keys to be captured and augmented, and provide audio and visual feedback. Chris also assisted in the tuning process, applying audio spectral analysis and acoustical models to determine the sonic qualities of the many rock types used in the project.


Bee Ong MSc

Bee is a researcher at the Interdisciplinary Centre for Scientific Research in Music (ICSRiM), University of Leeds. She has been involved in a number of interactive multimedia projects, including the Optical Music Recognition project funded by the Arts and Humanities Research Board of the British Academy and Music via Motion (MvM) project funded by the Arts Council, UK and several large scale collaborative projects such as I-MAESTRO (www.i-maestro.org), AXMEDIS (www.axmedis.org), CASPAR and MUSICNETWORK that are co-funded by the European Union.

Bee has a wide range of publications and she has chaired several international event organisation committees including AXMEDIS international conference, ConGAS symposiums and AISB convention.

Bee obtained her degrees in Mathematics and Statistics (BSc), Information Systems and Office Automation (MSc) from the University of Leeds, UK.


Dr Robert Mackay

Rob Mackay is a composer, sound artist and performer. He obtained a degree in Geology and Music at the University of Keele, studying composition there with Mike Vaughan, before going on to complete a Master's and PhD with Andrew Lewis at the University of Wales, Bangor. Currently he is a lecturer in Creative Music Technology at the University of Hull, Scarborough Campus, and is the course director.

Recent projects have moved towards a cross-disciplinary approach, including theatre, audio/visual installation work, and human/computer interaction. Prizes and honours include: IMEB Bourges (1997 and 2001); EAR99 from Hungarian Radio (1999); Confluencias (2003); La Muse en Circuit (2004 and 2006). His work has received over 100 performances in 16 countries (including several performances on BBC Radio 3).

He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), and the Tyrone Guthre Arts Centre (Ireland).

He has played, written and produced in a number of bands and ensembles, including the Welsh Hip-Hop collective 'Tystion' with whom he collaborated alongside John Cale on the film ‘A Beautiful Mistake', as well as recording two John Peel sessions on BBC Radio 1 and supporting PJ Harvey. More recently, he has done session work for Gowel Owen and Euros Childs. 6 CDs including his compositions are available. More information and pieces at: www.myspace.com/robflute and www.digital-music-archives.com.


Dame Evelyn Glennie

DAME EVELYN GLENNIE is the first person in musical history to successfully create and sustain a full-time career as a solo percussionist. As one of the most eclectic and innovative musicians on the scene today she is constantly redefining the goals and expectations of percussion, and creating performances of such vitality that they almost constitute a new type of performance. 

Out of the 25 solo recordings made so far, Evelyn's first CD, Bartok's Sonata for two Pianos and Percussion won her a Grammy in 1988. A further two Grammy nominations followed, one of which she won for a collaboration with Bela Fleck. Evelyn's twelfth solo CD, Shadow Behind the Iron Sun, was based on a radical improvisational concept and once again questioned people's expectations. Evelyn also performs with orchestras on the Great Highland Bagpipes. 

Evelyn Glennie is constantly exploring other areas of creativity such as writing a best selling autobiography "Good Vibrations" and presenting and appearing on a wide variety of television and radio programmes. Her unique stance on sound was captured by the renowned film director Thomas Riedelsheimer in a film called "Touch the Sound".

Evelyn has also used her influences as a solo percussionist to work alongside Ortak to create a range of jewellery called "Percussion". Evelyn is in demand as an international motivational speaker and educationalist. she also writes extensively for media library music companies.

In 1993 Evelyn was awarded the OBE (Officer of the British Empire) for her services to music and education. This was extended in 2007 to 'Dame Commander', and to date she has received over 80 international awards.



Brenda-Gillian MCIPD

Business advisor to Dame Evelyn Glennie since June 2006. Brenda-Gillian brings her skills and expertise to the Evelyn Glennie team from her primary career in Human Resource Management latterly for United Nations Environment Programme based in Cambridge and Nairobi, Kenya, Bewator Group, a leading company in manufacture and supply of international security systems and The Royal Greenwich Observatory, Cambridge. Currently working on developing projects for Evelyn Glennie to diversify her business and non-performance port folio. These projects range from jewellery design, literature and cartoon development around the musical career of the World's First full time Solo Percussionist. Brenda-Gillian is also involved in all aspects of PR including promoting Evelyn Glennie as a Cultural Olympiad Ambassador, Charity patronage, and contemporary collaborations to develop Evelyn's parallel career. Working with external teams and co-ordinators on a variety of projects including Ruskin Rocks at Brantwood.Through a series of international networking Brenda develops contacts for media liaison and marketing. Projects with an educational and socially enhancing theme which are particularly high on the agenda. Other areas that come under Brenda's remit are motivational speaking – developing speeches, researching topics, general business advice and brand building.


Marcus de Mowbray

I studied music at school and privately, then studied Photography and Animation at Medway College of Design (now University College of the Creative Arts).

As a musician I have worked in a variety of different musical environments including Symphony Orchestras, Jazz, Rock, Folk and Theatre Pit Bands, with whom I have played hundreds of concerts and made several records and CDs, and a session for BBC Radio 1. I also write and record my own music, releasing my debut CD last year.

Frustration at some instrument designs led me to invent the Award-Winning Tour Timps, ("kettle drums"). I undertook scientific work on these and conventional timpani at Brunel University's Acoustic Engineering Department and at South London Innovation Centre which led to Tour Timps being featured on BBC TV's "Tomorrow's World", played by Dame Evelyn Glennie. I set up production for these in London and Dallas USA, and so far almost 1,000 have been sold around the world.

I have created a variety of automata and toys, many props, such as recreations of old inventions for BBC TV's "What the Victorians/Tudors and Stuarts Did For Us"; props for Museums, such as the Livesey Museum for Children, Brent Museum, the London Transport Museum, and the Michael Faraday Centennial Exhibition. Some of the props I have designed and built alone, sometimes as part of a team. 


Mike Adcock

I am a musician, composer and teacher. My initial professional experience was in the visual arts and for ten years I was a lecturer in an art college. It was during that time that I developed a particular interest in improvisation, leading workshops in music and performance. Since that time I have made my living through music. In the early 90s I studied for an MA in musical composition under the mentorship of Gavin Bryars.

My main instruments are piano and accordion though I also work with a range of instruments, especially percussion. Over the years I have worked in a variety of styles and have made numerous recordings. Earlier this year I released a CD of my own compositions with a specially formed six-piece band and have recently recorded a new CD of improvised duets with Sylvia Hallett.

Over the last twelve years I have worked as a peripatetic keyboard teacher, for Hertfordshire and (currently) Gloucestershire Music Services. I have produced programmes of work incorporating new compositions and various strategies for improvisation, including material for a pilot Wider Opportunities scheme. I am currently working on a repertoire book of keyboard pieces for use in teaching.

My interest in playing musical stones began about ten years ago and since that time I have regularly used them, particularly in improvisation work. With an already keen interest in investigating music from different parts of the world, I also decided to document different cultures that used stones in their music. In 2008 I visited Vietnam seeking out ancient and contemporary examples of stone instruments. A resulting article on the subject was published in fRoots magazine.




R. Martin Seddon

I've been involved in media production for many years having first trained as a photographer. For over ten years I part owned and ran a small graphics company producing large format printed exhibition panels for all manner of displays – including some for Brantwood!

Following that I went freelance, producing video for web and other use, photographs for all manner of purposes, and later, audio both for myself and clients. Most recently I made a short film for my local authority showing the results a woodland management grant that they made – using Dales Ponies to remove felled trees. I've also illustrated books, provided photographic records for Architects, recorded choirs and groups for CDs, etc.

Two years ago I became a part-time PhD student at the Ruskin Library and Research Centre at Lancaster University where I am research Ruskin's use of media. I'm hoping to be able to say how he would have used modern media had he had them available.

Although my involvement in this project is really only in documenting it, I am looking forward to working with everyone and producing a real-life article - rather than just a wordy report!


Howard Hull

Howard Hull has been the Director of Brantwood, John Ruskin's former home, since 1996. Since 2000 he has also been Director of the Ruskin Foundation. Howard read English at Oxford before embarking on a career in the arts and education. He taught English and Drama at Gordonstoun, moving-on to project-manage the Centenary re-development of Toynbee Hall in London's East End. As Director of Development at the Academy of St Martin in the Fields in the 1980's he travelled all over the world arranging the programme and finances for this international orchestra, a similar role he went on to play at the Royal College of Art.

Howard was also a founding partner of the Support Group, the public relations and event management company. He has been responsible for organising numerous large scale festivals and public celebrations. Howard is a Fellow of the Royal Society of Arts and the Royal Geographical Society.


Nick Claiden

I was brought up in Devon and educated at Dartington Hall School, which was very strong in arts. My father was a sculptor and also made wooden percussion instruments and gongs.

I did a degree in Social Administration and Politics at the University of Bristol, before deciding that I wanted to concentrate on painting. I have been painting and drawing all my life. Working in stained, leaded and fused glass is more recent. I work in mixed media on paper where over time my focus has moved from purely landscape to a concern with the built environment and the people who move through them. I am at present looking at the very different environments of the city of Leeds and the ruins of Fountains Abbey and how we interact with them.

My glass work draws on the same subject matter as my paintings but using the light and colour and transparency of glass gives me the opportunity to look at the interaction of light with the artwork and its immediate surroundings in a much more dynamic way. I incorporate both stained and fused glass in leaded panels which are hanging panels, free standing pieces or windows.

I have been exhibiting for 28 years, in both solo and group exhibitions, in both galleries and social spaces. My first exhibitions were in Norfolk. Since I moved to Leeds I have had paintings accepted for Networking November and the Leeds Open Exhibition; work in group shows organised by Artsmix; a number of solo exhibitions, most recently in the Leeds Design Innovation Centre.


Lida Lopes Cardozo-Kindersley

Lida lopes Cardozo joined David Kindersley(1915-1995), letter cutter, sculptor and inventor in 1976, beginning a partnership which lasted until David's death. David had started his workshop near Cambridge on 1946, having been apprenticed to Eric Gill. The Workshop at 152 Victoria road in Cambridge is now run by Lida, his widow, with her husband Graham Beck. It consists of three lecturers and three apprentices. Teaching is a vital part of workshop life.

Lida and the Workshop make letters in stone, glass, metal, paper and wood, including headstones, commemorative plaques, heraldic carvings, sundials, typefaces, bookplates and lettering cut straight into buildings. We cut with hammer and chisel and do not use machines. We design, cut, paint, gild and prefer to fix all our own work. Lida has also written and published several books on lettering and workshop practice, the latest being The Annotated Capital published by Cambridge University Press in 2009.

Over the decades since 1946, the Workshop has undertaken thousands of commissions, large and small for private individuals as well as public bodies, Examples can be seen at the British Library (entrance gates), in the British Museum, Westminster Abbey, St. Paul Cathedral, St Giles', Edinburgh, all Cambridge (and some Oxford) colleges and in countless cemeteries and churchyards across the UK. They can also be found in continental Europe, North America, China and Japan.





[Ruskin Rocks home] [Introduction to the Project] [Who's who] [History of Musical Stones] [Why do Rocks Ring?] [Geology of the Lake District] [The Ruskin Rocks Instrument] [Links]

Created by kcng.org Jan 2010
Last updated: Rebecca Hildyard, 25 August 2010