TECHNE

  

TECHNE offers funding and training for doctoral student research in a fully-formed programme for academic, professional and early career development.

Application is welcomed through the following universities: 

Royal Holloway, University of London | Kingston University | Royal College of Art | University of the Arts London | University of Brighton | University of Roehampton | University of Surrey

TECHNE's 2017 Congress will be at the Royal College of Art on the 12th and 13th of January.  The theme is 'Interfaces and Platforms'.  To book a place please contact us at techne@rhul.ac.uk 

TECHNE's July 2017 Congress will be at the University of Surrey.  The title is Negotiating Thresholds: Borders, Boundaries and Doorways in Arts & Humanties Research

We are recruiting for our 2017 Cohort, please visit the Applying to TECHNE page for further information.

 

Forthcoming events

Featured TECHNE students 

 

Kevin Biderman

This research project charts the development of visual surveillance technologies in the City of London from 1994 to the present day. I conduct an analysis of the devices themselves, arguing that self-governance and self-surveillance are now practiced and instilled through the materiality of consumer devices, such as smart phones.

 

Judith Rifeser

My study interrogates the haptic within a corpous of contemporary films by female filmmakers through a critical engagement with Luce Irigaray's concepts of female subjectivity. The application of Irigarayan theory and film-philosophical ideas on the haptic to embodied praxis is to date an uncharted field of research. My research aims to bridge the gap between theoretical research in film philosophy, feminist phenomenology and the emergent practice-based research within film scholarship.

 

Reynaldo Young

Most modern philosophies of Music Education acknowledge that both improvisation and composition are important pedagogical tools; that said, my research proposes a novel educational approach to these invaluable crafts. My key argument is that improvisation and composition can indeed become self-improving procedures, provided that learners and teachers continually search for radically new musicalities and remain indifferent to the legislation of established musicianships.