Chair: Anthony Julius
Anthony Julius, of Mishcon de Reya, is one of the UK’s most prominent litigation lawyers, renowned for defending Deborah Lipstadt in the David Irving Holocaust denial trial, and is the author of several major books including TS Eliot: Anti-Semitism and Literary Form and Transgressions: The Offences of Art.. He marked the commencement of his role as Chair of the London Consortium with an inaugural lecture, entitled ‘Trembling Jurisprudence, or how to be multidisciplinary’, which took place at SOAS, University of London, in November 2005.
Core Faculty contribute to the core courses of the London Consortium Programmes. Where possible we have included information on their research interests, which give an indication of the kinds of dissertations and theses they would be willing to supervise. The Consortium also appoints many other external supervisors, who may come from academic or other institutions around the world. PhD students are assigned a first supervisor towards the end of the first term, MRes students during the second term.
Parveen Adams is known for her work, in the field of psychoanalysis and feminism, on the journal m/f (1978-86), [selected papers in The Woman in Question (1990)]. Since then she has focused on the use of psychoanalysis in the analysis of art. She guest edited a Special Issue ‘Rendering the Real’ for October (1992). Her books include The Emptiness of the Image (1996) and Art: Sublimation or Symptom (2003). She has published extensively on Cronenberg’s Crash (2000-2005). Her work on Thomas Demand has been published in Grey Room (2006); ‘Art and the time of Repetition’ by the Generali Foundation in Vienna (2007). ‘Hanged, Drawn and Quartered’, a consideration of Jake and Dinos Chapman and their relation to Goya, published as Inside the Death Drive, Liverpool University Press, 2010. ‘Warhol’s Multiple Images’ was published in Hurly-Burly no 3, 2010. Her essay on David Lynch’s Inland Empire, ‘Sticking to the Plot’ is in Urban Images: Unruly Desires in Film and Architecture, eds. S. Bull and M. Paasche, Sternberg Press 2011. She is on the Board of the Journal of Lacanian Studies and Savoir et Clinique.
Samantha Ashenden BA (Kingston), MPhil (Cantab.), PhD (Lond.) is Senior Lecturer in Sociology at Birkbeck College where she teaches political sociology and social and political theory. Her research interests span contemporary social and political theory, feminist theory and sociology of gender, governance and theories of the state, legal theory and the sociology of law. She has published on problems of power, authority and legitimacy in constitutional states, the role of expertise in contemporary governance, feminist theory, and child sexual abuse. She is co-editor, with Chris Thornhill, of Legality and Legitimacy: Normative and Sociological Approaches (Baden-Baden: Nomos 2010), and, with David Owen, of Foucault contra Habermas: Recasting the Dialogue Between Genealogy and Critical Theory (London: Sage 1999), and the author of Governing Child Sexual Abuse: Negotiating the Boundaries of Public and Private, Law and Science (London: Routledge 2004). Her current work is focused on violence, guilt and legitimacy. She is managing editor of the journal Economy and Society and is reviews editor for the journal Critical Review of International Social and Political Philosophy.
Jens Badura, Dr. phil. habil., studied philosophy, history, political sciences and biology in Austria, Germany and France. He was researcher in philosophy and cultural theory in several contexts and places (amongst others: Max Weber Kolleg Erfurt; EHESS Paris, Sorbonne Nouvelle Paris). From 2005-2008 he was Assistant Professor at the University of Vincennes-Saint Denis (Paris 8), where he also did his postdoctoral lecture qualification in philosophy 2006. Since 2006 he is visiting lecturer at the University of Witten/Herdecke (Germany). Since 2009 he teaches Philosophy at the Salzburg Experimental Academy of Dance (SEAD, Austria). He is founder and director of “konzeptarbeit”, an agency for transacademic research in culture and arts. His main theoretical interests are the theory of modern culture and the relation between philosophy and art. His actual philosophical projects are aiming for a conceptualisation of philosophy as performance and the creation of thought experiences by combining philosophy, performance, and theatre. Apart from that Jens Badura is engaged in several projects in the sphere of conceptual art and art in the public space.
Jane Bennett, is Professor and Chair of the Department of Political Science at Johns Hopkins University, and a founding member of the journal theory & event. She is the author of The Enchantment of Modern Life (2001), Thoreau’s Nature (2002), and Unthinking Faith and Enlightenment (1987). Her current project, tentatively entitled Vital Material: The Political Life of Things, seeks to bear witness to the force of “things” — e.g., stem-cells, food, electricity, and trash — in public life, of entities and energies that are crucial to politics but whose power and agentic capacities tend to get effaced by all the attention paid to the actions of human persons..
Chris Berry, is the Professor of Film and Television Studies in the Department of Media and Communication at Goldsmiths, University of London. In the 1980s, he worked for China Film Import and Export Corporation in Beijing, and his academic research is grounded in work on Chinese cinema and other Chinese screen-based media, as well as neighboring countries. He is especially interested in queer screen cultures in East Asia; mediatized public space in East Asian cities; and national and transnational screen cultures in East Asia. Prior to his current appointment, he taught at La Trobe University in Melbourne and The University of California, Berkeley.
Louise Bethlehem, is currently Head of the Program in Cultural Studies at the Hebrew University of Jerusalem, where she is also a Senior Lecturer in the Department of English. Her research interests include gender and postcolonial theory, as well as South African literary and cultural historiography. Her book, Skin Tight: Apartheid Literary Culture and its Aftermath was released by Unisa/Brill in 2006. A new collection Violence and Non-Violence in Africa, co-edited with Pal Ahluwalia and Ruth Ginio, was published by Routledge in 2007.
Georgina Born, is Professor of Sociology, Anthropology and Music at Cambridge University. She trained in Anthropology at UCL and uses ethnography to study cultural production, particularly music, television, digital media, and knowledge systems. Her books are Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (Vintage 2005); Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde (California 1995); and Western Music and Its Others: Difference, Representation and Appropriation in Music (California 2000, with D. Hesmondhalgh). Current research analyses the nature of interdisciplinary collaborations between the arts/media and sciences. Other current work examines the transformation of public broadcasting with digitization, and the changing modes of creativity attendant on music’s digitization.
Steven Connor is the Academic Director of the London Consortium and Professor of Modern Literature and Theory at Birkbeck College. He has many interests in 19th and 20th century literature as well as in cultural theory and history. His books include Postmodernist Culture (1989), Theory and Cultural Value (1992), The English Novel in History 1990-1995 (1995), Dumbstruck – A Cultural History of Ventriloquism (2000), The Book of Skin (2003) and Fly (2006). His most recent book is The Matter of Air: Science and Art of the Ethereal (London Reaktion, 2010). His Paraphernalia: The Secret Magic of Ordinary Things will appear from Profile Books in 2011 and A Philosophy of Sport from Reaktion in 2012. He has written extensively on contemporary art for Cabinet, Tate Etc, Modern Painters and others, and is a regular broadcaster for radio. His areas of interest include magical thinking; the history of medicine; the cultural life of objects and the material imagination; relations between culture and science; the philosophy of animals; and the history of the senses. A full list of publications, along with the texts of many unpublished essays, broadcasts and lectures can be found at www.stevenconnor. com.
Mark Cousins is Director of Histories and Theory at the Architectural Association. He has been Visiting Professor of Architecture at Columbia University and at the Architecture School of the University of Navarre. He is now Guest Professor at South-Eastern University, Nanjing. He is a founding member and Senior Fellow of the London Consortium. He has been a member of the Arts Council and consultant to the practice of Zaha Hadid. He has written on the relation of the human sciences and psychoanalysis. His publications include a book on Michel Foucault (with Athar Hussain) and the introduction to a new translation of Freud’s selected papers on the unconscious in a series edited by Adam Phillips. A series of articles on ‘The Ugly’ in AA Files has been translated into many languages. He has published on the work of Tony Fretton and many artists, most recently catalogue essays for Cerith Wynn-Evans, Anthony Gormley, Jane and Louise Wilson and Donovan Wylie. He has contributed to several journals, including Harvard Design Magazine, m/f, October, Economy and Society, and Art History. He is known for his Friday Afternoon Lectures at the Architectural Association which have drawn artists, architects, and (more recently) Consortium students for nearly twenty-five years.
Barry Curtis, Emeritus Professor of Visual Culture at Middlesex University, is a tutor at the Royal College of Art where he teaches Architecture and Design students and supervises research degrees. He edits the ‘Locations’ series for Reaktion Books, and wrote: ‘Building the Trip’ for the ‘Summer of Love’ exhibition at Tate (2006), Liverpool; ‘War Games’ for the ‘Cold War Modern’ exhibition at the V&A (2008) and ‘Looking Sharp’ (with Claire Pajaczkowska) for a recent Fashion and Film (2008) conference/publication (ICA). Dark Places: The Haunted House in Film was published by Reaktion in early 2009, and an essay ‘Dinosaur Design’ was published in Visual Rhetoric and the Eloquence of Design, ed Atzmon (2011). He is now working on a book on ‘Imaginary Architecture’, and contributing to a book on ‘Play’ to be published by Tate and to collections of essays titled: ‘Haunting the Screen’ and ‘Making a New World’, and will be contributing to the teaching programme accompanying the ‘PostModern’ Exhibition at the V & A in the Autumn.
Marko Daniel has been Curator of Public Programmes at Tate Modern since May 2006. Before then, he was Director of the Graduate School at Winchester School of Art, University of Southampton, where he was responsible for the School’s PhD students in art history and theory, fine art, design, museum studies and conservation. Between 2000 and 2003, he was a visiting lecturer at the Center for Art and Technology, Taipei National University of Arts, where he set up a critical theory programme for visual artists, musicians and computer programmers working across a wide range of electronic and multi-media arts. He curated a show by the Taiwanese artist Tsui Kuang-yu at City Crevice, Winchester Gallery in 2006.
Brian Dillon is AHRC Research Fellow in the Creative and Performing Arts at the University of Kent, where he is working on a research project entitled Ruins of the 20th Century. He is the author of Tormented Hope: Nine Hypochondriac Lives (Penguin, 2009), which was shortlisted for the Wellcome Trust Book Prize, and In the Dark Room (Penguin, 2005), which won the Irish Book Award for non-fiction. His writing has appeared in such publications as the London Review of Books, the Guardian, the New Statesman, frieze, Artforum, Art Review and the Wire. He is UK editor of Cabinet, a quarterly of art and culture based in New York. He has taught and lectured at, among other institutions, Trinity College Dublin, the Irish Museum of Modern Art, Tate, Goldsmiths, the Royal College of Art and the Royal Danish Academy of Fine Art.
Mark Dorrian is Professor of Architecture Research at Newcastle University and Co-Director of the art, architecture and urbanism atelier Metis. His books include (with Adrian Hawker) Metis: Urban Cartographies (2002), (with Gillian Rose) Deterritorialisations: Revisioning Landscapes and Politics (2003), (with Jane Rendell, Jonathan Hill and Murray Fraser) Critical Architecture (2007), Warszawa: Projects for the Post-Socialist City (2009), and (forthcoming, with Frédéric Pousin) La vue aérienne: Fragments d’une histoire culturelle. Recent essays include ‘Clouds of Architecture’, Radical Philosophy 144 (2007), ‘The Way the World Sees London’ in A. Vidler , ed, Architecture Between Spectacle and Use (2008), ‘Transcoded Indexicality’, Log 12 (2008), ‘The Aerial Image: Vertigo, Transparency and Miniaturization’, parallax 15(4) (2009), and ‘Falling Upon Warsaw: the Shadow of Stalin’s Palace of Culture’, The Journal of Architecture 15 (1) (2010) . He is currently working on the history of the aerial view, and is member of the advisory board of the Institute for Advanced Studies in the Humanities at the University of Edinburgh, where he is organizing a research theme on ‘Atmospheres and Atmospherics’: www.iash.ed.ac.uk/themes.atmospheres.html
John Dupré is a philosopher of science whose work has focused especially on issues in biology. He is currently Professor of Philosophy of Science at the University of Exeter and since 2002 he has been Director of the ESRC Centre for Genomics in Society (Egenis). He is the President of the British Society for the Philosophy of Science, and a Fellow of the American Association for the Advancement of Science. He has formerly held posts at Oxford, Stanford, and Birkbeck College, London. In 2006 he held the Spinoza Visiting Professorship at the University of Amsterdam. His publications include The Disorder of Things: Metaphysical Foundations of the Disunity of Science (Cambridge: Harvard University Press, 1993); Human Nature and the Limits of Science (Oxford: Clarendon, 2001); Humans and Other Animals (Oxford: Clarendon, 2002); and Darwin’s Legacy: What Evolution Means Today (Oxford: Oxford University Press, 2003). He is co-author, with the sociologist Barry Barnes, of Genomes and What to Make of Them (Chicago and London: Chicago University Press, 2008). A collection of his recent essays will be published in early 2012 by Oxford University Press, entitled Processes of Life: Essays in the Philosophy of Biology.
Philippe Foret is currently an Associate Professor and Fellow at the School of Contemporary Chinese Studies at the University of Nottingham. He received a Ph.D. in geography from the University of Chicago (1992) and his post-doctoral training at the University of California at Berkeley (1994-1995). His research interests have included the history of geography, cartography, and environmental studies, plus all things Asian. He works closely with the linguists of the Research Center on East Asian Languages (CRLAO) of EHESS-Paris, those at the Institute of East Asian Languages of Stockholm University, and with the historians of the Swiss Society of Cartography (SGK). He has published five books, the latest being The Journey of Maps and Images on the Silk Road, which he edited with Andreas Kaplony (University of Zurich). He is now writing on climate change in Chinese Central Asia, and planning a film on the deserts of Asia with Manfred Buchroithner (Technical University of Dresden). Frontier and mobility in modern Eurasia is the topic of another project he has with Svetlana Gorshenina (CNRS, Paris). The Last Spy of the Ráj is the fanciful title of his forthcoming book (IB Tauris) on the topographical survey that Sven Hedin (1865-1953) and others made in Iran and on the Tibetan Plateau. For more information on these projects, feel free to write to: firstname.lastname@example.org
John Forrester is Professor of History and Philosophy of the Sciences in the University of Cambridge. He is the author of Language and the Origins of Psychoanalysis (1980), The Seductions of Psychoanalysis. Freud, Lacan and Derrida (1990), (with Lisa Appignanesi) Freud’s Women (1992), Dispatches from the Freud Wars. Psychoanalysis and its Passions (1997) and Truth Games. Lies, Money and Psychoanalysis (1997). He is completing (with Laura Cameron) Freud in Cambridge, a study of the reception of psychoanalysis in Britain in the early twentieth century. His global cultural history of psychoanalysis, The Freudian Century, will be published by Penguin. He was co-translator of Jacques Lacan, Seminars I & II (1988). He has a long-standing interest in the case style of reasoning in the sciences, medicine and law. He is Editor of Psychoanalysis and History.
Erica Fudge is Professor of English Studies at the University of Strathclyde. She is the author of Pets (Acumen, 2008), Brutal Reasoning: Animals, Rationality and Humanity in Early Modern England (Cornell, 2006), Animal (Reaktion, 2004) and Perceiving Animals: Humans and Beasts in Early Modern English Culture (Macmillan, 2000). She is Associate Editor for the Humanities of the journal Society & Animals, and is on the editorial board of the online journal Humanimalia. She was the director of the AHRC-funded British Animal Studies Network from 2007-9 in London, and is directing its return in Glasgow, starting May 2012: www.britishanimalstudiesnetwork.org.uk
Lee Grieveson is Reader in Film Studies and Director of the Graduate Programme in Film Studies at University College London. He is the author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (Berkeley: University of California Press, 2004), and co-editor, most recently, of Inventing Film Studies (Durham, N.C.: Duke University Press, 2008), with Haidee Wasson. Grieveson is also co-principal investigator, with Colin MacCabe, of a major UK Arts and Humanities Research Council funded project entitled “Colonial cinema: moving images of the British Empire,” a project which both aims to digitally archive British colonial cinema spanning the twentieth-century and to organize scholarly gatherings to investigate these materials.
Charlotte Horlyck is a Lecturer of Korean art history in the Department of Art and Archaeology at SOAS from where she also received her PhD. She formerly curated the Korean collection at the Victoria and Albert Museum in London. Her research interests include arts of the Kory? period (AD918-1392), pre-modern Korean burial practices and theoretical issues relating to the study of space and material culture. She has written several articles on different aspects of Korean material culture and is currently co-editing a book on death, the afterlife, and funerary rites in Korea.
Richard Humphreys was previously Curator: Programme Research at Tate Britain and Deputy Chairman of the London Consortium, of which he was a founding member. He has organised many international conferences and events and is author of books on Futurism, Kurt Schwitters, British landscape art, the history of British art, Wyndham Lewis and contributing editor of a book of essays on Ezra Pound and the visual arts complementing an exhibition for which he was co-curator. He has been a curator of various displays of British art at Tate Britain from the eighteenth to twentieth centuries, and was lead curator of the major BBC TV-linked exhibition’ Picture of Britain’ (2005). His interests are broad-ranging across the arts, social sciences and humanities, reflecting his diverse roles at Tate over many years.
Mário Krüger is full professor at the University of Coimbra since 2001, was born in Lisbon in 1945 and graduated in architecture by ESBAL in 1972. He was a member of the Centre for Land Use and Built Form Studies(LUFBS), the pioneer research unit founded by Prof. Leslie Martin at the University of Cambridge, which awarded him a PhD in 1978. He supervised more than five dozens master’s theses and doctoral degrees at the Universities of Brasilia, University College(Bartlett), Cambridge, IST/UTL, FA/UTL and Coimbra. With three books and seven dozens of papers published in national and international magazines, as well as technical reports and an equal number of communications in conferences and scientific meetings, edited in Portuguese, as co-author, the publication of De re aedificatoria by Leon Battista Alberti, published in Latin in 1485. He is the coordinator of PhD studies in Architecture at the Faculty of Sciences and Technology at the University of Coimbra.
Tanya Krzywinska became convinced that the innovative qualities of videogames as participatory media required closer academic attention, after having published a number of books and papers analyzing the place of fantasy in cinema. In exploring the differences between film and games she can be described as a pioneer of the academic study of videogames, editing one of the first books in the field. Joining forces with Steve Jackson, a veteran of the games industry, in 2005, Tanya developed and now convenes a successful MA focused on videogame design. Over the course of her career, Tanya has had published many articles and books on screen-based and interactive media fiction. She became President of the Digital Games Research Association in 2006. She is currently working on a monograph, Gothic Games for Palgrave and is extending her work into practice-based research with a gothic-based game interactive fiction for the I-Pad.
Esther Leslie is Professor of Political Aesthetics at Birkbeck, University of London. She is the author of Walter Benjamin: Overpowering Conformism (London: Pluto, 2000), and Walter Benjamin: Critical Lives (London: Reaktion, 2007). Other books include Hollywood Flatlands: Animation, Critical Theory and the Avant-garde (London: Verso, 2002), and Synthetic Worlds: Nature., Art and the Chemical Industry (London: Reaktion 2005). She is a co-editor of Historical Materialism, and she is in the editorial collective of Radical Philosophy and an editor of Revolutionary History. Some of her current research investigates the political aesthetics of liquid and crystalline states. Together with Ben Watson she runs the website www.militantesthetix.co.uk
Lynda Nead is Pevsner Chair of History of Art at Birkbeck College London. Her research focusses primarily on the history of nineteenth-century British visual culture, including representations of Victorian femininity, the visual culture of the metropolis and obscenity and the Victorian regulation of visual culture. She has also published work on contemporary women artists. She is the author of Myths of Sexuality: Representations of Women in Victorian Britain (Oxford: Basil Blackwell, 1988), The Female Nude: Art, Obscenity and Sexuality (London and New York: Routledge, 1992), Between Two Cultures: The Work of Chila Kumari Burman (London: Arts Council and Kala Press, 1995), Victorian Babylon: People, Streets and Images in Nineteenth-Century London (London and New Haven: Yale University Press, 2000), and The Haunted Gallery: Painting, Photography and Film c. 1900 (London and New Haven: Yale University Press, 2008). She has an ongoing interest in the interface between art history and other disciplines, in which areas she has coedited the following volumes: (with Laura Marcus), The Actuality of Walter Benjamin (London: Lawrence and Wishart, 1998), (with Frank Mort), Sexual Geographies (London: Lawrence and Wishart, 1999) and (with Costas Douzinas) Law and the Image: The Authority of Art and the Aesthetics of Law (Chicago and London: Chicago University Press, 1999). She is currently working on a book entitled The Art of Boxing: A Book in Twelve Rounds, which examines the philosophical and aesthetic aspects of the sport.
Colin MacCabe is Associate Director of the London Consortium and Distinguished Professor of English and Film at Pittsburgh University. He has published widely on film and literature with particular emphasis on Joyce, Godard and topics in the history and theory of language. His most recent publications are T.S. Eliot (2006) and The Butcher Boy (2007). He has been producing documentary and fiction films since l985. His most recent productions are Chris Marker’s Owls at Noon: Prelude the Hollow Men (2005), Isaac Julien’s Derek (2008) and Filipa Cesar’s Black Balance (2010). He was Chairman of the London Consortium 1995-2005.
Tom McCarthy is a writer and artist whose work has been translated into more than twenty languages. His first novel, Remainder, which deals with questions of trauma and repetition, won the 2008 Believer Book Award and is currently being adapted for cinema by FilmFour Films. His second novel, Men in Space, set in a Central Europe rapidly disintegrating after the collapse of communism, was published in 2007. His third, C, which explores the relationship between melancholia and emergent technological media, was shortlisted for the 2010 Booker Prize. His non-fiction book Tintin and the Secret of Literature, an exploration of the themes and patterns of Hergé’s comic books, was published in 2006. Tom is also founder and General Secretary of the International Necronautical Society (INS), a semi-fictitious avant-garde network of writers, philosophers and artists whose work has been exhibited internationally at venues including the Palais de Tokyo Paris, Tate Britain and Moderna Museet Stockholm.
Peter Morris has been in charge of research at the Science Museum since 2004, having been Senior Curator of Chemistry since joining the museum in 1991. Before then, he was the first Royal Society-British Academy Research Fellow in the History of Science and Assistant Director (programs) at the Centre for the History of Chemistry at the University of Pennsylvania. He has published on the history of the chemical industry and the history of chemistry, including a book on the development of modern chemical instrumentation, and is currently investigating the relationship between innovation in the chemical industry and the fear of overpopulation. He also has a long-standing interest in the dichotomy between natural and synthetic.
Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She is the author of: Visual and Other Pleasures (1989), Fetishism and Curiosity (1996), Citizen Kane (1996), Death Twenty-four Times a Second: Stillness and the Moving Image (2006) and Visual and Other Pleasures (1989, 2nd edition 2009). Her films include, with Peter Wollen, Riddles of the Sphinx (1978) and Frida Kahlo and Tina Modotti (1980), and, with Mark Lewis, Disgraced Monuments (1994).
Richard Osborne is a lecturer in Popular Music at Middlesex University. After completing his PhD with the London Consortium he worked on the AHRC-funded project Colonial Film: Moving Images of the British Empire. He has published work on the themes of music technology, minstrelsy, alarms, Indian film, and The Fall. His book Vinyl: A History of the Analogue Record will be published by Ashgate in 2012.
Daniel Pick is a Professor at Birkbeck College in the School of History, Classics and Archaeology and an associate member of the British Psychoanalytical Society. His research interests lie within the field of European culture, thought and the human sciences, particularly in England, France and Italy. He has written on various aspects of the history of psychoanalysis, psychology and psychiatry, the historiography of war, trauma and group conflict, cultural attitudes to the Victorian city, to crime, madness and sexuality, the politics of Darwinism and degeneration theory, the ideology of nationalism and the relationship of psychoanalysis to historiography. His teaching interests include various aspects of nineteenth and twentieth-century European culture, thought and the human sciences; the history and contemporary practice of psychonalysis. Together with Professor Jacqueline Rose of the English Department at Queen Mary, University of London, Daniel Pick organises a Graduate Forum, Psychoanalytic Thought, History and Political Life. His areas of research supervision include nineteenth and twentieth-century European culture, thought and the human sciences. Due to his current research interests, he would particularly welcome applications for doctoral projects relating to the history of psychoanalysis, psychiatry or psychology between the 1920s and 60s.
Mikkel Bolt Rasmussen is Associate Professor at the Department of Arts and Cultural Studies, University of Copenhagen. He has published books and articles on the artistic avant-garde, contemporary political philosophy and the revolutionary tradition. Publications include Expect Anything Fear Nothing: The Situationist Movement in Scandinavia and Elsewhere (2011) and Totalitarian Art and Modernity (2010). His articles have appeared in journals such as New Formations, Oxford Art Journal, Rethining Marxism and Third Text. He is an occasional cultural producer and made the exhibition This World We Must Leave with artist Jakob Jakobsen in Aarhus Kunstbygning in 2010.
Nick Roddick is a film journalist and academic. His books include A New Deal in Entertainment: Warner Brothers in the 1930s (BFI, 1984) and British Cinema Now (with Martin Auty, BFI, 1985). He has worked extensively as a trade journalist and consultant within the film industry and for a number of major film festivals. He is also a regular contributor to Sight and Sound, Evening Standard and other publications.
Aura Satz is an artist and writer. She completed a theory/practice PhD at the Slade School of Fine Art, where she held a Henry Moore Foundation Post-doctoral Sculpture Fellowship. She has taught across various institutions including the Slade School of Fine Art, Central Saint Martins, Chelsea College of Art and Design, and the Art History department at UCL, and been invited to speak at venues such as the Henry Moore Institute, Baltic, the Hayward Gallery, London College of Communication and Goldsmiths College. She was a regular contributor to Tema Celeste, and has contributed to a variety of journals, including Performance Research, New Formations, Leonardo Music Journal and Cabinet. She is co-editor of Articulate Objects: Voice, Sculpture and Performance (Bern: Peter Lang, 2009), and has published essays on tableaux vivants, iconoclasm, automata, phantom limbs, spiritualism and visual sound. She has performed, exhibited and screened her work nationally and internationally, including FACT (Liverpool); Site Gallery (Sheffield); Galleria Civica di Arte Contemporanea di Trento (Italy); De La Warr Pavilion (Bexhill-on-Sea); the Zentrum Paul Klee (Switzerland); Färgfabriken (Stockholm); Tatton Park Biennial (Cheshire); AV festival (Newcastle); Tate Oil Tanks, BFI Southbank, Whitechapel Gallery, the Victoria & Albert Museum, Barbican Art Gallery, ICA, Jerwood Space, Tate Britain, Beaconsfield Gallery, Artprojx Space, and the Wellcome Collection (London). During 2009-2010 she was artist-in-residence at the Ear Institute, UCL. She recently completed a film on the Oramics Machine in homage to Daphne Oram. Her projects can be seen online at www.iamanagram.com.
John Sellars is a Senior Lecturer in Philosophy at the University of the West of England. Before joining UWE he held a post-doctoral fellowship at King’s College London and was a Junior Research Fellow at Wolfson College, Oxford. He has wide research interests in the history of philosophy, including ancient, early modern, and modern European philosophy. He has written two books on ancient Stoicism (The Art of Living, 2003, and Stoicism, 2006). John is a Fellow of the Consortium.
Bernard Stiegler, Director of the l’Institut de Recherche et d’Innovation, is a philosopher and Docteur de l’Ecole des Hautes Etudes en Sciences Sociales. He commenced his studies during a five-year prison sentence following his conviction for a series of armed robberies. He was Programme Director of the Collège International de Philosophie from 1984, a teacher at the Université de Compiègne from 1988 et Director of Connaissances, Organisations et Systèmes Techniques, a research unit which he founded in 1993. He was director of Ircam from 2001 and was appointed director of the department of cultural development of the Centre Pompidou in 2006. He currently holds professorial positions at the University of Compiègne, Goldsmiths College, London and Queen’s College, Cambridge. He is the author, among many other publications, of La technique et le temps 1 and 2 (Paris: Galilée, 1994, 1996), Echographies de la télévision, avec Jacques Derrida (Paris: Galilée, 1996), De la misère symbolique 1 and 2 (Paris: Galilée, 2004, 2005), Réenchanter le monde: La valeur esprit contre le populisme industriel (Paris: Flammarion, 2006) and Etats de choc: Bêtise et savoir au XXIè siècle /em> (Paris: Mille et une nuits, 2012.
Wendy Wheeler is Professor of English Literature and Cultural Inquiry at London Metropolitan University, She has research interests in contemporary fiction, literary and cultural theory, and in the ways in which these can inform aesthetic, social and political thought. She is also interested in potential meetings between the arts and sciences. In particular, she is interested in evolutionary systems theory (‘complexity’), ecocriticism, ecophenomenology, and biosemiotics, as providing new ways of thinking about human knowing and creativity in terms both of philosophical theory and also creative praxis. She is the author of A New Modernity? Change in Science, Literature and Politics (London: Lawrence & Wishart, 1999)The Whole Creature: Complexity, Biosemiotics and the Evolution of Culture (London: Lawrence & Wishart, 2006), and editor of The Political Subject: Essays on the Self from Art, Politics and Science (London: Lawrence & Wishart, 2000). She is on the Editorial Board of New Formations, and is also on the Advisory Board of the Association for the Study of Literature and the Environment (ASLE-UK), and on the Advisory Boards of its journals Green Letters and Soundings: A Journal of Politics and Culture.
Patrick Wright is Professor of Literature and Visual and Material Cultures at King’s College London. His first book, On Living in an Old Country (1985), tracked the rise of ‘national heritage’ as a theme in post-war British life. A Journey Through Ruins (1991) told the story of the Thatcher years through the experience of Dalston Lane, a not entirely distressed street in East London. The Village that Died for England (1995) used the story of an area of land requisitioned to form a military firing range to trace the relations between nature and technology in the twentieth century. More recently he has published Tank: the Progress of a Monstrous War Machine (2000), Iron Curtain: From Stage to Cold War (2008), and Passport to Peking: A Very British Mission to Mao’s China (2010). He has written regularly for magazines and newspapers, including the London Review of Books, the Guardian, the Washington Post, the Independent and the Observer. He has been a presenter of Radio 3’s Night Waves and made many documentaries on cultural themes for BBC Radios 3 and 4. His television work includes The River, a four part BBC2 series on the Thames (1999), A Day to Remember, a documentary history of Remembrance Day, broadcast by Channel 4 in 1999, and a number of more recent programmes on BBC4. He has been a member of the Art Panel of the Arts Council of England, and was co-curator of Tate Britain’s exhibition of Stanley Spencer’s work in 2001.www.patrickwright.net.