A dis­ser­ta­tion is a di­a­logue be­tween his­tor­i­cal, cul­tural back­ground of your stu­dio work and ques­tions that might arise from that.

CHS is aimed at en­abling crit­i­cal en­gage­ment to take place within, and be­tween the dif­fer­ent dis­ci­plines at the RCA

Dr Eleanor Dare

The lim­its of sym­bolic logic (Calvert men­tioned this) pa­per: Black Boxes and God-Trickx: an Accountnog Using Medical imag­ing sys­tems to pho­to­graph

2011: Project on mem­ory / mem­ory gaps

What counts as knowl­edge is po­lit­i­cal To pre­tend oth­er­wise is what Harraway (1991) would call a God-Trick

2013: Blood-Sugar Roulette: a case study on bio-geo­met­ric body-art

2017: An artist’s ex­pert sys­tem: sec­ond or­der cy­ber­net­ics

Work on ar­ti­fi­cial lan­guage / ma­chine learn­ing A play be­tween two ar­ti­fi­cial agents

McQuillan: Re-thinking AI through the pol­i­tics of 1968

A so­ci­ety whose synapses have been re­placed by neural net­works…

PhD Work: Bespoke books that tried to un­der­stand read­ers

Galton (1870): Composite por­traits

See also: de­tect­ing gay peo­ple through fa­cial recog­ni­tion

2018: Munging an­a­lyt­ica: god tricks, con tricks

Cathy Johns

Inclusive Citation: HOw di­verse are your ref­er­ences

Towards a crit­i­cal (art) li­brarien­ship: the­o­ries and prac­tices (at Chelsea)

IN the li­brary with the lead pipe


Work on King’s Cross: re­gen­er­a­tion The met­ro­pol­i­tan archive The mu­seum of lon­don archive

Prof Dr Suzanne Buchan: Critical and Methodological Approaches to writ­ing about an­i­ma­tion

Founding ed­i­tor of an­i­ma­tion: an in­ter­dis­ci­pli­nary joural

Animation as the par­a­digm for all cin­e­matic pro­d­ic­tion Stu­art Hall

Bordwell, Thompson (2004): Film Art: An Introduction

Formal frame­work to an­a­lyze film

Library of COngress Moving Image Genre-form Guide Question of how an­i­ma­tion is clas­si­fied

Eduardo Paolozzi (1962): History of Nothing

re­searchon­line.rca.ac.uk Frayling (1993): Research in Art and Design Real-World Research Claisse (2013): Interpretive han­dling ob­jects Weaving World: a col­lec­tive ven­ture into hu­man-non­hu­man en­tan­gle­ments