Whether it's training one person in your office, or assistance with migrating to a new system, we can help you. Upon arrival at 12 Bloomsbury Square, ring the buzzer and explain you are a delegate for Best STL. Cross over to the opposite side of the intersection (twice, so you are diagonally opposite).
Highly relevant for both artists and writers, the course theorises art from a contemporary perspective embracing ideas in Continental philosophy, The Marxist intellectual tradition, as well as psychoanalytic and feminist theories. She was previously at Northern Trust, where most recently she was Senior Vice President and Head of international fixed income securities lending trading, based in London. Click the Tools button (or press ALT and T on the keyboard), and then click Internet Options. Continue walking up this road (west), and after Pret and EAT, take the first right into Southampton Pl.
Allen has more than 15 years of experience in the securities finance market across client types, geographies and roles.
The International Arbitration Centre (where training is held) is clockwise around Bloomsbury Square from your position, so walk up the street on the left, about halfway up the street. With her wealth of experience in the industry, we are confident that DataLend will be better than ever under her direction.
It was a wonderful experience to sit with other attendees and exchange ideas that can be applied in our line of work.
The International Arbitration Centre (where training is held) is about halfway up the street. Unit 3 (40 credits) follows after the completion of Units 1 and 2 and runs for a further 15 weeks to the end of year one.
In year two your study is predominantly self-managed but we expect you to commit an average of 20 hours per week.
Across the two years, therefore, you're expected to commit an average of 30 hours per week.Course rationaleThe triangular relationship between art, critical theory and philosophy has in recent years become a vital transformative influence on artists and writers. There's a clear receptivity within art practice and discourse towards philosophy and, in turn, a keener engagement by philosophers with art in terms of both theory and practice.
Adopting an exploratory approach to research, the course probes the relationship between art, theory and philosophy in order to understand how the disciplines might interact with one another.
It asks how these areas can inform each other's aims and aspirations in the context of social issues including subjectivity, psychological experience, politics and community.At the core is the challenging notion, bequeathed by the Enlightenment not just to philosophy but also to thinking and theoretical writing, that art is not an object of knowledge but an agent of experience.
For European philosophers writing in the wake of its legacy this thesis has entailed a completely new orientation towards the nature of aesthetic experience affecting not just approaches to art but the concept of subjectivity itself. Of particular importance is the relationship of both modern and contemporary art to Continental philosophy, the Marxist intellectual tradition, psychoanalysis, and feminist theory.
A strong discursive component locates you in the professional world of research and debate, and this is supported by lectures from visiting scholars and philosophers.


In pursuing the relationship between art, theory and philosophy the course aims to advance both art practice as a form of thinking and thinking as a form of practice, with the aim of producing qualified researchers, practitioners and writers who will contribute to art, visual studies and philosophy in a contemporary context.The first year offers teaching in research skills while engaging you in the specialist subject of your pathway. At the same time you'll prepare for a personally directed programme of study - your research project.
Your progress is supported through tutorials and critical discussions, and monitored through written assignments and presentations. Your realised project is the principal assessed work leading to the MRes qualification.Unit 1 - Critical PerspectivesUnit 1 runs concurrently with Unit 2 and equips you to understand what philosophy and theory has said about art in the period from the Enlightenment to the present. Skills and knowledge areas covered include interviewing, literature search and review, archival skills, software for use in research and e-resources, feasibility studies, data analysis, referencing, citation and bibliographic conventions, and ethics. Seminars and workshops emphasise participation and the building of core research skills through practical exercises and small group projects.Lectures ask how arts research and discourse is developed, shared and understood. The focus is on methods of learning, thinking, evaluation and interpretation as both practice based and theoretical forms of enquiry.
Tutorial and workshop support helps you do this.Unit 4 - Independent Research Project (IRP)Unit 4 has two parts. Part Two is devoted to independent study and the development and completion of your research project in year two.Part OnePart One focuses on developing your research project proposal. It involves directed reading or viewing, the formulation of specific research questions and methods, and the production of a literature review (annotated bibliography) that forms part of your draft research project proposal. Your proposal's development is supported through increasingly student-directed seminars and group (as well as personal) tutorials, plus written guidance on the required contents of the proposal document. The exchange of perspectives with others through shared units, reading groups and debates helps establish stimulating and productive networks.The focus on proposing and developing a major independent programme of study is supported by a shared professional practice lecture series featuring guest speakers plus opportunities to attend symposia and critique work in progress across subject areas. You'll gain skills in close textual analysis, comprehension, reconstruction and interpretation of philosophical arguments, while building expertise in critical analysis and reflection.
The location of the MRes within our postgraduate environment enhances your ability to relate philosophical analysis to art and cultural practices. You'll also need to meet the minimum entry requirements as indicated below, but please note that these qualifications alone won't be sufficient to secure entry to the course.Minimum entry requirementsWe consider applicants who have already achieved an educational level equivalent to an Honours degree.
If English is not your first language, we strongly recommend you send us an English language test score together with your application to prove your level of proficiency. If you have booked a test or are awaiting your results, please clearly indicate this on your application form. You will also have the chance to review all the information and make any necessary amendments before you submit the application form.We will send you emails as you progress through the application process, so do check your inbox (and junk folder, just in case). These emails will contain important information about your application, and links to the online forms you should use to submit the extra information required.Deferred entryEntry can only be deferred in exceptional circumstances. Please contact us before submitting your application if you're considering applying for deferred entry.What happens next?We read and consider all application forms and personal references.
Please note we give particular attention to your initial project proposal and references.Subject to your meeting the entry requirements and consideration of your application form, preliminary selection is based on your project proposal and documentation of work and supporting information.


We keep notes about decisions made following the initial application review and the interview process.Selection is by two members of staff (normally the pathway leader and one other), and offers of places are made on the basis of our selection criteria.
With these thinkers in mind we shall explore previous philosophical traditions and ideas, particularly that of the Enlightenment philosopher Immanuel Kant. Drawing on examples of art and films as a counterpoint to the issues at stake these lectures are informed by contemporary debates about art. 2012) is a helpful introduction to the ideas of the lectures.The course is augmented by public events and lectures at the college also listed below. She is author of several books, including Beyond the Pale, and she will lecture on the topic 'On making your suffering mine.' Vron Ware is a distinguished member of the faculty, well known for her work on whiteness, gender, and the military.
The talk is oriented by conceptual innovations, such as the sinthome, introduced by Lacan in his teaching in the late 1970s. An attack upon supposedly indestructible structures of knowledge is occurring: finitude of the subject, the phenomenal given, a priori synthesis.
Such a claim implies that we have provided a sufficiently convincing concept of the irregularity of the laws of nature and of the possibility of a totally different world. Here, while the mind, through a sheer effort of will, has the capacity to overcome a variety of ailments, thought nevertheless causes it severe pain, a pain to which it is not just opposed, but which indeed accompanies its very operation. To the extent that this ambivalent relationship to pain is insurmountable, the ageing philosopher’s inflammation of the head is linked to what Kant himself describes as an involuntary spasmodic state in the brain, that is, a certain inability to maintain concepts, or to secure the unified consciousness of related representations, which Lyotard wants to suggest is fundamental or necessary, rather than merely contingent upon an ailment contracted late in life.To what extent is post-Kantian thought in pain?
In what ways is such ‘pain’ prolonged in philosophies that seek a radical departure from Kant? It will suggest that philosophy provided a position from which the Black Panthers developed a radical politics of race in the USA beyond the religious orientations of the Civil Rights movement and the Nation of Islam.
Focusing on the work of Huey Newton, the talk will emphasise the role played by Plato, Nietzsche and Speech Act Theory in the formulation of a politics of visibility and a performative concept of cultural and political intervention. Most, if not all, critics will agree that a literary or artistic interpretation does not provide a universally valid meaning of the work or text being read, but rather something far more singular, more situationally bound, that arises from an encounter. Literary interpretations that matter are those that open the possibility of future encounters by sensitising one to the significance of hitherto neglected details or aspects, focusing as much on the 'how' as the 'what'.
In this respect, literary encounters produce not so much knowledge as acknowledgement of the radical heterogeneity of texts.
It is widely supposed that, in his later work, when studying apparatuses of power-knowledge, and when outlining a history of regimes of subjectivation and truth, Foucault had entirely reversed this orientation.



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