unit title studio practices unit code ffar5006 duration 28...

CONTENT Studio practices builds on the developments students have made in Level Four encouraging a sustained period of investigative study informed by theory. This is a unit whose key focus will be an exploration; at an advanced level of the possible approaches students may locate in order to begin to define a practice. A key theme of the unit is the ways in which theory and practice are actively synthesised to initiate and frame studio work. The unit will encourage students to be open and receptive to the potential of this dialogue throughout the year. The first half of the unit will include a series of advanced workshops and assignments designed to link theoretical ideas to practice students will actively explore the potential of conceptual and material methodologies in relation to a sustained period of research resulting in a body of work. The unit will also emphasise the role of critique and peer dialogues in the analysis of work and how this may be interpreted to resolve bodies of work at any given time during the year. The role of debate around individual practice will enable the student and peers to probe and interrogate ideas and works in order for students to begin the process of refining their own independent practice. The unit is delivered with reference to the Critical Theory unit encouraging students to cross pollinate ideas posed by this theory component within Level five. Throughout students will be supported in studios by staff and visiting artists. In the second half of the unit students will also be required to undertake mandatory work experience relevant to their interests. This is a key aspect of this unit, in that it will provide real-world experience within the students chosen field of study. It is also an opportunity to evaluate and re-evaluate the trajectory of individual research interests. This will be for a maximum period of one week towards the end of the second half of the Unit. Students will develop understanding of the practice of researching, planning, implementing and reflecting on the experience of working with an external organisation or individual relevant to the world of Fine Art practice. Throughout students will be inducted to specific resource areas as their practice develops. By the close of the unit it is anticipated that a student will have significant confidence and knowledge with which to pursue Level Six with a clear understanding of how their practice could evolve towards the degree show and beyond. AIMS The aims of this unit are:

UNIT TITLE Studio Practices Unit Code FFAR5006 Location Farnham Level 5 Duration 28 Weeks Credit Value 60 Total Learning Hours for Unit 600 Date of approval of this version June 2016

A1 To guide you in independently forming a practice that synthesises theory with studio work A2 To understand the key issues relating to subject areas through research at any given point in

its development. A3 To develop critical language relevant to your selected area of research and wider contexts A4 To understand the key aspects of professional practice relevant to contemporary artists A5 To develop approaches to independently defining practice and the process of embedding

theoretical ideas LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Through self-management produce a body of work representative of intensive research and

development. LO2 Develop relevant research methods appropriate to sustained projects LO3 Employ reflective and critical practice in a range of contexts LO4 Explain the role of professional practice with regards the contemporary artist. LO5 Self initiate an independent studio practice informed by theoretical texts INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 300 No. of hours of independent activity 280 No. of hours of placement activity 20 This will comprise: Tutorials, Seminars, Lectures, Work in Progress presentations, Work Placement, Project Space presentations, Artist talks, Visiting Staff tutorials

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where applicable

Portfolio 100% A body of practical work with related :- • Research Folders

Portfolio

• Reflective Journals • Critical Journals • Presentations

relating to work in progress at given points in year. A report relating to the work experience requirement of this unit.

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge of contexts, concepts, technologies and processes Historical and theoretical understanding of your selected area of research

LO2,LO3, LO5

Materials and Processes relevant to your selected areas of research Demonstrated through articulating a project. Key Issues relating to professional practices

LO1, LO5 LO1, LO3, LO4 LO4

Understanding through application of knowledge Through the development of a coherent body of practical research and final works Through Critical and reflective practice examining the development of your work Within the context of professional practice placement

LO1, LO5 LO2, LO3, LO5 LO4

Application of technical and professional skills In developing a portfolio of work relevant to interests and intention as outlined within a Project proposal In the presentation and dissemination of ideas and work in progress

LO1, LO5 LO3, LO5

REFERENCE MATERIAL Essential Brown, Bill (2004) Things-A critical enquiry. United States: University of Chicago Candlin, Fiona and Raiford Guins (2009) The Object Reader. London: Routledge Deleuze, Gilles (2013) A thousand Plateaus. London: Bloomsbury Elkins, James (1999) The Object Stares Back. United States: Harvest Flusser,Vilem (2000) Towards a Philosophy of Photography. United States Reaktion Books Kristeva, Julia (1984) Powers of Horror. United States: Columbia University McLeod, Kembrew (2011) Cutting across media : appropriation art, interventionist collage, and copyright law. United States: Duke University Press Mitchell, W J T (2006) What Do Pictures Want?. United States: University of Chicago Mitchell, WTJ (1987) Iconology: Image, Text and Ideology. United States: University of Chicago Mirzoeff, Nicholas (2012) The Visual Culture Reader. London: Routledge

Mulvey, Laura (2009) Visual and other Pleasures.London: Palgrave Macmillan Power, Nina (2009) One Dimensional Woman. London: Zero Books Recommended Cotton, Charlotte. (2004). The Photograph as Contemporary Art. London: Thames and Hudson. Morgan, Jessica and Muir, Gregor. ed. (2004). Time Zones: Recent Film and Video. London: Tate. Stiles, Krishna and Selz, Peter. (1996). Themes and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. London; Berkeley: University of California Wood, Paul. (2003). Conceptual Art. London: Tate Gallery Publishing.

UNIT TITLE Critical Theory Unit Code FFAR5002 Location Farnham Level 5 Duration 24 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version June 2016

CONTENT Critical Theory is a term that refers to a range of texts whose common theme was a critical view of society and the human sciences. Applied to discussions on art critical theory emerges from Marxism and has become an analytical and discursive tool employed by artists, critics, writers and historians. The unit will explore canonical and contemporary figures analysing key texts that have shaped theoretical debates in art since 1940. Taking Julia Kriteva’s phrase ‘intertextuality’ as a starting point the unit aims to demonstrate that theoretical texts essentially cross-reference and align to expected and unexpected readings not explicitly present in the text itself. The unit will take a thorough look at key texts from a range of historical sources. Students will play an active role in their learning as each session will insist upon the importance of discussion and analysis as an essential component of their individual understanding of the meaning and impact of those ideas proposed by each theorist. In addition to many of the principle figures such as the Frankfurt School, The first half of the unit will also address important contributions of such figures as Sigmund Freud, Jacques Lacan, Rosa Luxembourg, Bertolt Brecht and Ayn Rand. The unit will look to highlight the polarities of discourse that invigorate debates around critical theory.

To ensure these texts are activated each session will aim to locate ideas within contemporary artwork either by using individual works or large scale curatorial events as a means to illustrate how theories have been applied and continue to be employed by artists today. This part of the unit concludes with a 2000 word essay The second half of the unit will address a wide range of current writing including James Elkins, Nina Power, Slavoj Zizek, Terry Eagleton, Claire Bishop, Nicolas Bourriaud, Alain Badiou, Antoni Negri, Laurie Penny, Jacques Ranciere and Helen Cixous. Sessions will again provide space for students to examine concepts within the context of seminars and peer dialogues. During this time students will consider their own work in relation to ideas discussed alongside realising how current forms of critical theory have been effectively applied by artists. In examining the various modes of criticism and debates in our present time the unit in at this stage will provide students with a basis for the planning and development of a dissertation proposal. This part of the unit concludes with a 3000 word essay. AIMS The aims of this unit are: A1 To independently examine the work of some of the most influential thinkers of the last thirty

years A2 To critically assess the reception of theory in the last thirty years A3 To explore the inter-relations between theory and contemporary fine art practice A4 Identify a subject and relevant methodology in preparation for the independent authoring

of a dissertation LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Critically assess the reception of theory in the last thirty years through self - initiated

research. LO2 Demonstrate an awareness of the various “sites” available to the artist today. LO3 Demonstrate an ability to use relevant theoretical approaches in interpreting and writing

about art and artists LO4 Critically assess parallels between contemporary art practice and art history applying theory

sourced and researched by the student.

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 90 No. of hours of independent activity 210 No. of hours of placement activity 0 This will comprise: Lectures, Seminar, Group Tutorial




Weigh-ting (%)




double click in the box to see options. The options equate to the assessment types in table A2


Written Assignment

40% Written Assignment

2000

Written Assignment 60% Written Assignment

3000





Written

Written assignment, including essay 40% 60% Coursework

Report Coursework


Portfolio Coursework


Set exercise (not under exam conditions, e.g. critiques)

Coursework



Practical






Knowledge of: Contemporary criticism and theory Key contemporary practices Key methodological approaches to art history and the way in which aspects of theory are played out in some contemporary practice

LO1, LO2, LO4 LO2 LO2

Understanding through application of: Deduction and criticism with regards to the dialogue between theory and practice Evaluation and reflection with regards to the dialogue between theory and practice

LO1,LO2,LO3,LO4 LO2

Technical and Applied Skills through: Conceptual methods and processes Essay writing Debate Research and writing Time management

LO1,LO2,LO3,LO4 LO1,LO2,LO3,LO4 LO1,LO2,LO3,LO4 LO1,LO2,LO3,LO4 LO1,LO2,LO3,LO4

REFERENCE MATERIAL Essential Badiou, Alain (2013) The Theory of the Subject. United States: Verso Chomsky, Noam (2012) How the World Works. United States: Hamish Hamilton Cixous, Helen (1994) Three steps on the ladder of Writing. United States: Columbia University Fisher, Mark (2014) Ghosts of my life. London: Zero Books Freedman, Estelle (2007) The Essential Feminist Reader. London: Modern Library Jones, Amelia (2010) The Feminism and Visual Culture Reader. London: Routledge

Lechte, John (2007) Fifty key contemporary thinkers. London: Routledge Ranciere, Jacques (2009) The Future of the Image. United States: Verso Ranciere, Jacques (2013) The Politics of Aesthetics. United States: Verso Steyerl, Hito (2009) Art and Contemporary Critical Practice- Reinventing Institutional Critique. United States: Mayfly Books Steyerl, Hito (2012) The Wretched Screen. London: EFlux Tomsic, Samo (2015) Marx and Lacan: The Capitalist Unconscious. United States: Verso Zizek, Slavoj (2011) Living in the End Time. United States: Verso Recommended Relevant texts relating to individual research will be recommended to students throughout Level Five.

UNIT TITLE Contemporary Exhibition Practice Unit Code FFAR5003 Location Farnham Level 5 Duration 25 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version June 2016

CONTENT Contemporary exhibition practice necessitates that students wishing to become professional artists will need to engage with a wide range of practical, intellectual, administrative and organisational problems. Rather than simply viewing these considerations as the onerous prerequisites of being in the art world, many artists embrace this regarding them as inter-connected and forming a holistic professional whole. This transformation has been paralleled by an unprecedented increase in the availability, number and range of spaces - both intellectual and physical – in which to exhibit. From traditional thematic curated solo and group shows in publicly funded museums, to smaller projects in independently run spaces. With these changes have come new theories about curatorial, exhibition and site-specific artistic practice. At the close of the first half of the unit students will undertake a group project exploring a key critical theory concept they will then activate this within an alternative external space as directed by staff. A key aspect of this activity is the curation of an artist, fine art graduate or student external to the

University who students will work with to resolve a ‘live’ project. Students will then provide an evaluation of the project constituting a 1500 word essay. The second half of the unit will culminate in a live project external to the University that students and as a peer groups will organise and curate. Students will be guided in their ability to research and understand the historical and contemporary trends that have shaped/re-shaped the art world and your ability to communicate and plan a relevant proposal and event that reflects your observations and interests. As a peer group you will reflect and critique the event presenting a 10-minute seminar to peers. The syllabus will cover: • Curation • Artist Run Spaces • Alternative Spaces and the web • Public Art • Public Relations and the Art Press • Funding AIMS The aims of this unit are: A1 To personally consider through self-initiated research how meanings might be generated in

an exhibition, display or interventionist context. A2 To analyse contemporary exhibition practices A3 To apply your knowledge and understanding to live projects. A4 To inform students on the process of independently devising curatorial strategies in relation

to a brief LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Independently critically evaluate exhibitionary art practices within social, political and

economic contexts. LO2 Understand and effectively employ appropriate communicative strategies within an

exhibitory or public space and demonstrate your ability to work with other artists. LO3 Practically engage with issues of cultural value, inclusion/exclusion, economics and

accessibility in a non-institutional context. LO4 To manage of independent curatorial project

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 100 No. of hours of independent activity 200 No. of hours of placement activity 0 This will comprise: Lectures, Presentations, Seminars, Group tutorials, live projects and Peer Group Presentation




Weigh-ting (%)



Assessment Type For each

component double click in the box to

see options. The options equate to the assessment types in table A2


Written Assignment 40% Analysis and evaluation of the live curatorial project #1 with presentation 1500 word evaluation of a current curatorial project London based or nationally.

Written Assignment

1500

Portfolio

60% Independent report 2000 word Case study: Artist run space/ organisation Presentation regarding individual role in group project including reflection and critical evaluation relating live Project # 2

Portfolio

2000





Written

Written assignment, including essay 40% Coursework

Report Coursework







Practical






Knowledge of: Contemporary art practice Analysis, criticism and evaluation of contemporary exhibition practice The history of curatorial practice

LO1, LO2, LO3, LO4 LO1, LO2, LO3, LO4 LO1

Understanding through application of: Effective time management Research methods and presentation techniques Analysis, criticism and evaluation of contemporary exhibition practice

LO2, LO3,LO4 LO2, LO3, LO4 LO1,LO2,LO3

Technical and applied skills through: Presentation skills and Participation in the peer group assessment process (LO5)

LO2,LO3, LO4

REFERENCE MATERIAL Essential

Auge, Marc (2009) Non Place. United States: Verso Chomsky, Noam (2012) Occupy. London: Penguin Coverley, Merlin (2010) Psychogeography. United States Pocket Essentials George, Adrian (2015) The Curators Handbook. London: Thames and Hudson Hemmings, Claire (2002) Bisexual Spaces. London: Routledge Hetherington, Kevin (1997) The Badlands of Modernity. London: Routledge Obrist Ulbrich., Hans (2011) Everything you wanted to know about curating. United States: Sternberg Obrist Ulbrich, Hans (2015) Ways of Curating. London: Penguin Obrist Ulbrich., Hans (2008) A brief history of Curating. London: JP Ringier O’Docherty, Brian (2000) White Cube: The ideology of the Gallery Space. California: University of California Press O’Neill, Paul (2012) The Culture of Curating and the Curating of Cultures. United States: MIT Press Harvie, Jen (2013) Fair Play. London: Palgrave Macmillan Recommended Recommended texts will be provided in relation to student’s research;

CONTENT Studio practices builds on the developments students have made in Level 4 encouraging a sustained period of investigative study informed by theory. This is a unit whose key focus will be an exploration; at an advanced level of the possible approaches students may locate in order to begin to define a practice. A key theme of the unit is the ways in which theory and practice are actively synthesised to initiate and frame studio work. The unit will encourage students to be open and receptive to the potential of this dialogue throughout the year. The unit will include a series of advanced workshops and assignments designed to link theoretical ideas to practice students will actively explore the potential of conceptual and material methodologies in relation to a sustained period of research resulting in a body of work. The unit will also emphasise the role of critique and peer dialogues in the analysis of work and how this may be interpreted to resolve bodies of work at any given time during the year. The role of debate around individual practice will enable the student and peers to probe and interrogate ideas and works in order for students to begin the process of refining their own independent practice. The unit is delivered with reference to the Critical Theory unit encouraging students to cross-pollinate ideas posed by this theory component within Level 5. Throughout students will be supported in studios by staff and visiting artists. Throughout students will be inducted to specific resource areas as their practice develops. By the close of the unit it is anticipated that a student will have significant confidence and knowledge with which to pursue Level Six with a clear understanding of how their practice could evolve towards the degree show and beyond. At the culmination of the unit you will need to demonstrate your knowledge of curatorial practices, this will be an opportunity to site a selected body of work within the Black Box project space or an offsite venue identified by yourself. AIMS The aims of this unit are: A1 To guide you in independently forming a specialist studio practice focus for your work

UNIT TITLE Studio Practices (Study Abroad) Unit Code FFAR5007 Location Farnham Level 5 Duration 13 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version June 2016

A2 To understand the key issues relating to your selected area of research A3 To develop critical language relevant to your selected area of research and wider contexts. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Produce through own research and experimentation a body of work representative of

intensive research and development of studio practice. LO2 Develop relevant research methods appropriate to a sustained project proposal. LO3 Employ reflective and critical practice in a range of contexts. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 91 No. of hours of independent activity 209 No. of hours of placement activity 0 This will comprise: Tutorials, Seminars, Lectures, Work in Progress presentations, Project Space presentations, Artist talks, Visiting Staff tutorials




Weigh-ting (%)




double click in the box to see options.

The options equate to the assessment types

in table A2


Portfolio 100% A body of practical work with related :- • Research Folders • Reflective

Journals • Critical Journals • A Presentation

relating to work in progress at given points in year

Portfolio





Written

Written assignment, including essay Coursework

Report Coursework







Practical






Knowledge of contexts, concepts, technologies and processes Historical and theoretical understanding of your selected area of research Materials and Processes relevant to your selected areas of research Demonstrated through articulating a project.

LO2,LO3 LO1 LO1, LO3

Understanding through application of knowledge Through the development of a coherent body of practical research and final works Through Critical and reflective practice examining the development of your work

LO1, LO2, LO3

Application of technical and professional skills In developing a portfolio of work relevant to interests and intention as outlined within a Project proposal In the presentation and dissemination of ideas and work in progress

LO1 LO3

REFERENCE MATERIAL Essential Brown, Bill (2004) Things-A critical enquiry. United States: University of Chicago Candlin, Fiona and Raiford Guins (2009) The Object Reader. London: Routledge Deleuze, Gilles (2013) A thousand Plateaus. London: Bloomsbury Elkins, James (1999) The Object Stares Back. United States: Harvest Flusser,Vilem (2000) Towards a Philosophy of Photography. United States Reaktion Books Kristeva, Julia (1984) Powers of Horror. United States: Columbia University McLeod, Kembrew (2011) Cutting across media: appropriation art, interventionist collage, and copyright law. United States: Duke University Press Mitchell, W J T (2006) What Do Pictures Want? United States: University of Chicago Mitchell, WTJ (1987) Iconology: Image, Text and Ideology. United States: University of Chicago Mirzoeff, Nicholas (2012) The Visual Culture Reader. London: Routledge Mulvey, Laura (2009) Visual and other Pleasures. London: Palgrave Macmillan Power, Nina (2009) One Dimensional Woman. London: Zero Books Recommended Cotton, Charlotte. (2004). The Photograph as Contemporary Art. London: Thames and Hudson. Morgan, Jessica and Muir, Gregor. ed. (2004). Time Zones: Recent Film and Video. London: Tate Stiles, Krishna and Selz, Peter. (1996). Themes and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. London; Berkeley: University of California Wood, Paul. (2003). Conceptual Art. London: Tate Gallery Publishing. .

CONTENT Critical Theory is a term that refers to a range of texts whose common theme was a critical view of society and the human sciences. Applied to discussions around art critical theory emerges from Marxism and has become a analytical and discursive tool employed by artists, critics, writers and historians. The unit will explore canonical and contemporary figures analysing key texts that have shaped theoretical debates in art since 1940. Taking Julia Kriteva’s phrase ‘intertextuality’ as a starting point the unit aims to demonstrate that theoretical texts essentially cross-reference and align to expected and unexpected readings not explicitly present in the text itself. The unit will take a thorough look at key texts from a range of historical sources. Students will play an active role in their learning as each session will insist upon the importance of discussion and analysis as an essential component of their individual understanding of the meaning and impact of those ideas proposed by each theorist. In addition to many of the principle figures such as the Frankfurt School, the unit will also address important contributions of such figures as Sigmund Freud, Jacques Lacan, Rosa Luxembourg, Bertolt Brecht and Ayn Rand. The unit will look to highlight the polarities of discourse that invigorate debates around critical theory. To ensure these texts are activated each session will aim to locate ideas within contemporary artwork either by using individual works or large scale curatorial events as a means to illustrate how theories have been applied and continue to be employed by artists today. The unit concludes with a 3500 word essay AIMS The aims of this unit are: A1 To successfully independently examine the work of some of the most influential artists of the

last thirty years A2 To critically assess the reception of theory in the last thirty years A3 To explore the inter-relations between theory and contemporary fine art practice A4 To initiate the process of developing a sustained research project in the form of a dissertation

proposal.

UNIT TITLE Critical Theory (Study Abroad) Unit Code FFAR5005 Location Farnham Level 5 Duration 13 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version June 2016

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 To independently critically assess the reception of theory in the last thirty years LO2 Demonstrate an awareness of the various “sites” available to the artist today. LO3 Critically assess parallels between contemporary art practice and art history in the use of

these theories LO4 To synthesise ideas and concepts with external theoretical positions in order to develop a

dissertation proposal. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 39 No. of hours of independent activity 261 No. of hours of placement activity 0 This will comprise: Lectures, Seminar, Group Tutorial




Weigh-ting (%)




double click in the box to see options.

The options equate to the assessment types

in table A2


Written Assignment

100% Written Assignment

3,500





Written

Written assignment, including essay 100% Coursework

Report Coursework


Portfolio Coursework





Practical






Knowledge of: Contemporary criticism and theory Key contemporary practices Key methodological approaches to art history and the way in which aspects of theory are played out in some contemporary practice

LO1, LO2, LO2 LO2

Understanding through application of: Deduction and criticism with regards to the dialogue between theory and practice Evaluation and reflection with regards to the dialogue between theory and practice

LO1,LO2,LO3,LO4 LO2

Technical and Applied Skills through: Conceptual methods and processes Essay writing Debate Research and writing Time management

LO1,LO2,LO3,LO4 LO1,LO2,LO3, LO4 LO1,LO2,LO3, LO4 LO1,LO2,LO3, LO4 LO1,LO2,LO3, LO4

REFERENCE MATERIAL Essential Badiou, Alain (2013) The Theory of the Subject. United States: Verso Chomsky, Noam (2012) How the World Works. United States: Hamish Hamilton Cixous, Helen (1994) Three steps on the ladder of Writing. United States: Columbia University Fisher, Mark (2014) Ghosts of my life. London: Zero Books Freedman, Estelle (2007) The Essential Feminist Reader. London: Modern Library Jones, Amelia (2010) The Feminism and Visual Culture Reader. London: Routledge Lechte, John (2007) Fifty key contemporary thinkers. London: Routledge Ranciere, Jacques (2009) The Future of the Image. United States: Verso Ranciere, Jacques (2013) The Politics of Aesthetics. United States: Verso Steyerl, Hito (2009) Art and Contemporary Critical Practice- Reinventing Institutional Critique. United States: Mayfly Books Steyerl, Hito (2012) The Wretched Screen. London: EFlux Tomsic, Samo (2015) Marx and Lacan: The Capitalist Unconscious. United States: Verso Zizek, Slavoj (2011) Living in the End Time. United States: Verso Recommended

Individual texts will be provided with reference to students’ own developing research interests regarding student initiated assignment.