Video gaming has been a major industry in Japan since the 1970s, and Nintendo is one of the most successful companies.
This interactive workshop is at aimed at School/College pupils studying Japanese at GCSE or A-Level, as well as those who are interested in Japanese language and culture, but who have not had the opportunity to study the language.
The workshop will allow pupils to learn about the history of the Nintendo Video Games Company through the years, starting in 1889 as a Hanafuda card manufacturer, leading to the present day as the world’s largest video game company by revenue. It will also introduce them to the world of the Anime industry, in relation to video gaming.
The focus of the workshop will be on reflecting on cultural influences, language and creativity.
Pupils in years 10, 11 and 12 are welcome to apply. Knowledge of Japanese is not a requirement, as in addition to developing cultural knowledge, the session will allow students to acquire some Japanese vocabulary. Additionally, it will give them the opportunity to learn about Japanese Language and Culture courses at a University level.
The Language of Mourning in Fin-de-Siècle Sculpture
Professor Hilary Fraser (Lincoln, University of New York)
The Sally Ledger Memorial Lecture is held to commemorate the work of our late colleague, and reflects her commitment to the democratic possibilities of education, the rich interdisciplinarity of nineteenth-century literature and culture, and the lively research culture of the University of London. The lecture is supported by donations from Professor Ledger’s colleagues and friends and the nomination of speakers is shared between Royal Holloway, University of London, where she was Hildred Carlile Chair of Victorian Studies at her death, and Lincoln, University of New York, where she taught for many years. This year’s lecture is organised by Lincoln’s Centre for Nineteenth-Century Studies.
The 2015 Sally Ledger Memorial Lecture will take place as part of an international conference on the ‘The Arts and Feeling in Nineteenth-Century Literature and Culture’ to be held at Lincoln from 16th-18th July 2015. The Lecture is free, open to the public, and followed by a wine reception.
If you decide you would like to apply for any of our undergraduate degree courses we will be on hand to help you with the next steps.
Come along to our Try It workshop where we will outline fees and funding, provide practical tips on writing an application and explain what will be expected of you as a Lincoln student.
This interactive workshop will be broken down into three sections;
a) Student finance, funding and loans – By the end of the session you will know what loans and financial support you may be eligible for and how to apply for it, as well as being comfortable with the finer details of the repayment process. We will also clearly explain Lincoln’s non repayable financial support packages for those students most in need.
b) Preparing to Study – We will explore the benefits of returning to study, identify what may be possible challenges and find realistic solutions to ensure you make the most of every opportunity. We will discuss what will be expected of you as a student, and give you information about Lincoln student support services including study skills and disability support. By the end of the workshop you will be able to put the necessary plans in place to ensure you hit the ground running when you start your course.
c) Making an Application to Lincoln – We understand that the application process can seem daunting. We will give you an overview of what Lincoln expects from an application, and will include practical writing exercises to help you demonstrate your experience and commitment. While we can’t guarantee that your application will be successful, we can give you the knowledge and support you need to write a clear and engaging application.
These free sessions are intended for applications for undergraduate degree courses only, not for postgraduate degrees. Please note that these events are not subject specific.
Do you have any questions about what it’s like to study at Lincoln?
One of our current students, Joshua, will be on hand 2-4pm on Tuesday 11 August to answer questions about being a student here. If you’re thinking about applying to us through Clearing 2015 it’s the perfect opportunity to find out first-hand about study facilities, teaching, assessment, work experience, social life and any other questions you may have.
If you would like to ask a question please use the hashtag #lincolnschool somewhere in your tweet. You can tweet your questions anytime from now, we will save them and Joshua will answer them during the Q&A slot, or you can ask them live during the Q&A.
All our tweets will be available to view on the @lincoln account.
The fifteenth century occupies a central place in conventional narratives of western art, but its fame derives from very selective attention. The period’s prestige is based largely on the achievements of the early Renaissance in Italy, and although this concentration has not gone unchallenged, the contest has itself been conducted in narrow terms with the art of the Burgundian Netherlands as the main contender. Art away from these privileged regions tends to remain the preserve of national histories and is comparatively little known. This international conference, supported by the British Academy, casts light on neglected aspects of European art and urges a wider frame of reference.
The established focus can seem natural. In the fifteenth century Italy and the Netherlands produced striking and justly celebrated works which deeply impressed contemporaries and had a profound impact on the art of subsequent generations. However, a history of art which concentrates on the development and dissemination of these pioneering traditions risks both overlooking the potential insights from the concerted study of a wider range of material and underestimating the potential contribution of the discipline. What is the history of the art of this period capable of?
The history of Renaissance art in general has long been urged to adopt a wider scope and especially to engage with the world beyond Europe. However, the leap to a global focus threatens to marginalize still further currently neglected parts of Europe, and it would be a missed opportunity if the discipline failed to engage with Europe at its fullest extent and especially with the ‘new Europe’ which has emerged after 1989. The conference concentrates on Central and Eastern Europe as rich and complex regions of critical importance in the modern world but whose artistic heritages are little known and little understood.
Whether you’re feeling stuck in your current job or are looking to fast-track your progression, this workshop is designed to help you explore how further study can have a positive impact on your future career.
This workshop will help you:
Gain a more in-depth understanding of yourself to better inform your career decisions
Learn about your skills, personality, values and motivations
Apply this knowledge of yourself to different career options
Know how to find out whether the course(s) you are considering is a stepping stone to the career you want, including information about the graduate destinations of Birkbeck students to inspire you
Please note that this session does not contain specific information about available courses or funding options.
If you are a current student you can attend our careers’ workshops on Wednesdays.
The Future Focus workshop is one of a series of workshops to support prospective students throughout their application to Birkbeck.
The Class Day ceremony is planned and presented by the members of the senior class. Although it varies from year to year, the event traditionally gives seniors an opportunity to acknowledge publicly achievements and contributions of members of the class and University community.
The program includes the awarding of various prizes to classmates, student speeches, honorary class member inductions, a review of the class history, and remarks by President Christopher L. Eisgruber and a guest speaker who this year is film director Christopher Nolan.
Each senior receives four guest tickets, which may be used either for the Cannon Green site or, in the case of severe weather, for simulcast locations which are: McCosh 10 and Dillon Gym. Also Betts Auditorium in the School of Architecture, Alexander Hall, and McCormick 101 all of which are air conditioned and accessible. A campus map to locate these simulcast sites is at this link. In the case of severe weather, seniors assemble in the chapel.
9:30 a.m. Seniors gather in the courtyard of Dod/Brown. Seniors go directly to the chapel in case of severe weather. Seniors wear senior jackets.
10:00 a.m. Class Day Procession. Class officers lead seniors onto Cannon Green (there is no procession for an indoor Class Day).
10:30 a.m.–noon. Class Day Ceremony. Cannon Green. (Chapel for seniors; simulcast locations for guests in case of severe weather.)
Students are selected by their schools and colleges to participate in the Honors Convocation. Students are eligible if they are graduating with:
Eligible students will receive an email invitation to their University account.
Students who participate in Honors Convocation are encouraged to invite a faculty mentor to the ceremony. Those who invite mentors are reminded to provide RSVP instructions to them. RSVP details will be emailed to participating students.
Students and mentors should check-in between 7:15 a.m. and 7:45 a.m.
Students and mentors should both be dressed in academic regalia.
Students and mentors will be seated by 8:15 a.m.
Mentors will remain seated when students go forward to receive their medallion.
In 2013 artist space Marrickville Garage organised a project based around the photo book called BOOKISH.
BOOKISH II Event is an extension of that original concept, wherein three artists have used the book as a starting point for three different approaches to working with books as inspiration, as concept, as object and as source.
Anne Kay’s “Learning to draw from books”, is a series of photo-montages, which developed out of an enjoyment of 18th and 19th century novels, a corner of literature that is now a little dusty and arcane. Initially, the attraction was to the literary forms of the period, and the opportunity the narratives offered to peek into earlier, somewhat foreign societal customs. After accumulating an eclectic assortment of paperback reprints, the attraction extended to the cover illustrations, which hinted at the stylistic variation over the decades in illustration and book cover design. In this series of artworks, the cover illustrations are the subjects for learning to draw.
Jane Polkinghorne has organised “A Brief Scatological Survey” of books and objects scatological in nature. Dominique Laporte’s 1978 book Histoire de la merde (Prologue)published by MIT in 2000 as History of Shit, is used for this project as a foundation text. Laporte’s analysis of shit links the development of Paris to control of the French language, and can be more broadly read as a critique of the increasing control governments wield over every aspect of our lives, literally controlling us from the toilet to the grave.
“A Brief Scatological Survey” brings together the works of Trevor Fry, Sally Clarke, and Margaret Mayhew, as well as objects from Polkinghorne’s collection of scatological objects alongside various publications on the scatological.
Sarah Newall has researched the documentation of Australian Aboriginal “bush tucker” and this includes the European botanical drawings of Sydney Parkinson who was on the Endeavour in 1770 with Captain Cook, through to modern publications. This is an extension of her ongoing interest in flora and its representation within the domestic sphere. Recently this has expanded into gardening projects and sustainable materials and practices.
Ex Libris Fisherarium is a series of art projects curated by Associate Professor Michael Goldberg for SCA and Fisher Library. The projects, reflecting the theme of ‘The Book’ in its historical and contemporary manifestations, feature work by SCA staff, students, alumni and associates and can be found on levels 2, 3 and 4 of Fisher Library.
This exhibition is presented at the Sheila C. Johnson Design Center and supported by the MFA Photography program in the School of Art, Media, and Technology.
For centuries, artists used lenses to create images; but the invention of photography in 1839 indissolubly linked the lens–based image and the camera. Now, a quarter-century into the digital era, our very understanding of photography and film have undergone a massive transformation. The fifteen artists in this exhibition each received a Master of Fine Arts degree from the photography program at Parsons School of Design; that is to say, they are all “photographers.” Yet few, if any, of them transcribe the world using chemistry, cellulose, and emulsion. Rather, they use various digital imaging and video processes to create their works. What these artists have in common is the camera, even if only the one on their iPhone. Their employment of the lens as a fundamental tool to make their art positions them within the photographic tradition, and their varied practices as photography. Their art is camera work. That such diverse and compelling work shares an origin in lens-based technologies may well speak to the importance of photography as a unique and enduring discipline.
These artists’ practices encompass not only framed prints on the wall or moving images on a glowing screen, but also video installations, mock natural-history dioramas, and Instagram feeds. Their art also finds its place in publications—self-published, issued by commercial publishers, or even produced by a collective, Conveyor, founded by other graduates of the program. This emphasis on the book and the magazine as the natural home for their work may seem surprising given the emphasis of the digital age on the seamlessly virtual and ephemeral, but it nonetheless marks this generation of artists as concerned with making their art accessible, yet unwilling to completely forgo the tangible object.
At the turn of the last century, Alfred Stieglitz’s pioneering publication Camera Work began by championing Pictorialism, the already old-fashioned idea that photography could prove itself a fine art by imitating painting, but ended a distinguished run by presenting the most modern photographic vision of its time. Some of the artists in this exhibition include sly references to both Pictorialism and Modernism in their works, and many rely in part on the printed page to disseminate their ideas, but while these photographers may keep one eye on the legacy of the past, their practices bring camera work into the future.
Including the work of: Jun Ahn, Berk Çakmakçı, Alison Chen, Xiao Chen and Yichen Zhou, Bobby Davidson, John Deamond, Nathan Harger, Erik Madigan Heck, Brigitte Lustenberger, Joy McKinney, Charlie Rubin, Keith Telfeyan, José Soto, and Marie Vic.
Curated by Sarah Hasted and Joseph R. Wolin.