Posts from February 2012

Teaching with collections discussion

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The IMCC-affiliated MA in Museums, Galleries and Contemporary Culture at Westminster, in association with The Johns Hopkins Masters Program in Museum Studies, presents:

Teaching with Collections: A Discussion Forum
Tuesday 20 March 2012, 6.30 – 8.30
Fyvie Hall, University of Westminster, 309 Regent Street, London W1B 2UW

Keynote Speaker: Henry Kim, Ashmolean Museum, Oxford

Henry Kim is the Director of the University Engagement Programme, a three-year project sponsored by the Andrew W. Mellon Foundation, aimed at expanding the use of the museum’s collections in teaching across the University, as well as a specialist on archaic and classical Greek coins and European medals.  He has been a curator at the Ashmolean Museum and university lecturer in Greek numismatics at the University of Oxford since 1994, and was the Project Director for the Ashmolean Redevelopment Project, completed in November 2009 and the redevelopment of the Egypt Galleries, completed in November 2011.

Open and free to all. No booking required, but RSVP appreciated. Further information and RSVP: Helena Scott,

Wyndham Lewis and Cinema talk, Feb 22nd

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Wednesday 22nd February, 1.15pm – 2.30pm
Room 359, University of Westminster, 309 Regent Street

Anthony Paraskeva (University of Dundee)
‘Wyndham Lewis, Cinema Hypnotism and the Frankfurt School’

Cory Doctorow at University of Westminster, 22nd Feb at 3

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Wednesday 22 February at 3pm
2.05A School of Law, 4 Little Titchfield Street, London W1W 7UW

Cory Doctorow
‘There is a war coming: the future regulation of general purpose computation’

Organised by our friends in The Centre for Law, Society and Popular Culture
ALL WELCOME. RSVP Danilo Mandic:

Cory Doctorow ( is a science fiction author, activist, journalist and blogger — the co-editor of Boing Boing ( and the author of Tor Teens/HarperCollins UK novels like FOR THE WIN and the bestselling LITTLE BROTHER. He is the former European director of the Electronic Frontier Foundation and co-founded the UK Open Rights Group. He is the author of Content: Selected Essays on Technology, Creativity, Copyright and the Future of the Future, (2008). Born in Toronto, Canada, he now lives in London. See further,


Cultures of Capitalism: Education at the Whitechapel Salon, Feb 16th

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Thursday 16 February 2012, 7pm
Whitechapel Gallery, 77-82 Whitechapel High Street, London E1
Price: £7.00 / £5.00 concessions (includes free glass of wine).

This season’s Whitechapel Salon organised by the IMCC in collaboration with the Whitechapel Gallery is on ‘Cultures of Capitalism’. Our fourth discussion focuses on future of education under contemporary capitalism, with guest participants Mark Fisher, author of Capitalist Realism, Andrew McGettigan, author of the arts and humanities blog Critical Education, and Andrea Phillips, Reader in Fine Art Practice and Director of Research Studies, Goldsmiths. Chaired by Marquard Smith.

Book your ticket at:

UPDATE: Unfortunately Mark Fisher is unable to participate on this occasion because of illness. Hopefully we’ll be able to get him down again for a future event in the Salon series.

‘The Beautiful Game’, special preview screening, Thursday 1st March

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Thursday 1st March 2012
Reception: 6-7; Screening: 7-9

The Old Cinema, University of Westminster, 309 Regent Street
RSVP to: Katrina Fender (

Our friends in The Centre for Law, Society and Popular Culture at the School of Law, University of Westminster in association with Africa10 are delighted to invite you to a special preview screening of The Beautiful Game, a new documentary from director Victor Buhler. The film celebrates the work of The Right to Dream Academy, and is generously supported by Alisa Swidler and Leke Adebayo.

‘Now! Visual Culture’ at NYU, May 31-June 2, 2012, the second biennial conference of the International Association for Visual Culture

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“Now! Visual Culture” is a participation event, to be held at New York University, May 31-June 2 2012. The goal is to showcase as broad and diverse a range of visual culture practice as possible in order to create a snapshot of the field of visual culture as it is currently practiced from Cape Town to California.

At the 2010 Visual Culture Studies Conference in London, hosted by the Institute at University of Westminster, a decision was taken to constitute an International Association for Visual Culture. A key principle was that the Association should ask as little as possible financially from its members while involving as many people as possible in decision making. This is the first event organized under this platform. By the end of the event, delegates will have both experienced and created the transformation of the field from an interaction of cinema studies and art history (as it was in the 1990s) to the present intersection of Web 2.0, iconology, contemporary art practice, and critical visuality studies.

The event is structured so that all delegates will attend a single stream of sessions to create a strongly interactive conference experience. The event begins with 15×5 minute lightning talks on the state of the field by people ranging from postdocs to professor emeritus. There are eight sessions following, organized by people in a variety of locations, including the Visual and Cultural Studies Program at the University of Rochester, the Brooklyn Filmmakers Collective, the Alliance for Networking Visual Culture and the Diasporic Asian Art Research group. Each session will be independently organized in keeping with the horizontal ethics of the Association.

Particular time slots have a hands-on workshop, film screenings, panel discussions or a combination of the above.

Current session themes include:

a workshop with Scalar, a born-digital multi-media authoring platform
the role of design in globalization
new media coverage of the Occupy Wall Street movement
Asian diaspora art practices
practice in and as visual culture
a graduate student forum
the general assembly of the International Association for Visual Culture
keynote ‘listeners’ and talkback
Lots of time for networking and enjoying New York, with receptions every night, a gallery exhibition of online and material work, and maybe a late-night shenanigan or two!

‘Exhibiting Video’ conference, 23-25 March – Call for Papers extension

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DEADLINE 15 February 2012

Exhibiting Video – International Conference
Date: 23 – 25 March, 2012
University of Westminster, 309 Regent Street, London, W1B 2UW

In March and April 2012 Ambika P3, the flagship exhibition space at the University of Westminster, will present a major solo exhibition of the influential pioneer of video art, David Hall in association with REWIND. To mark the occasion the Centre for Research and Education in Arts and Media (CREAM) of the University of Westminster is convening Exhibiting Video, a three-day event considering issues central to the display of video art.

We welcome proposals for papers of a maximum of 30 minutes. Send abstracts of no more than 250 words. They must include the presenter’s name, affiliation, email and postal address, together with the title of the paper and a 150-word biographical note on the presenter. Abstracts should be sent to Helen Cohen at and arrive no later than Wednesday 15 February 2012.

Satire and Childishness seminar

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Wednesday 8th February, 1.15pm – 2.30pm
Room 359, University of Westminster, 309 Regent Street

Morgan Daniels (Queen Mary, University of London)
‘Satire and Childishness’

This paper examines the effects of broadcast satire in Britain c.1939-73, and a curious yet clear theme to be found in correspondence to the BBC, namely the condemnation of satire, comedy and other irreverent programming as childish, juvenile, and so on.  What I want to ask is Why?  Why is it that, as the psychologist James Hillman observed, ‘[t]he worst insult is to be called “childish,” “infantile,” “immature”’? In order to obfuscate no less than to attempt to answer this question, this paper presents three short ‘test cases’ from BBC programming between 1951 and 1973: The Goon Show, Spike Milligan’s radio sitcom, of sorts, which revelled in the pantomimic; BBC-3, a televised revue programme made by the That Was The Week That Was team; and Yesterday’s Men, a fairly sober 1971 documentary about the recently-departed Labour government, often decried as ‘satirical’.  Each of these (hugely different) productions came to be attacked as childish.  To ask Why? is to question not just satire and its role in meaning-making, but childhood, too – which, after all, is but a fairly recent invention.