Mar
26
Tue
Lucid dreaming (w/ Dr Josie Malinowski)
Mar 26 @ 6:10 pm – 7:10 pm

“Lucid dreaming” is a form of dreaming in which the dreamer is aware that they are dreaming, and may be able to control some aspects of the dream. This talk will discuss what lucid dreaming is, the best techniques for inducing lucidity in dreaming, and what can be done once inside a lucid dream.

Josie Malinowski is a oneirologist (dream researcher) and oneironaut (dream explorer) based at the University of East London. She teaches on the BSc (Hons) Psychology degree at UEL, including on the module “The Psychology of Sleep and Dreaming”. Her forthcoming book, “The Psychology of Dreaming,” will be published by Routledge in 2019.

All APRU talks are open to staff, students and members of the public. Attendance is free and there is no need to book in advance. You are strongly recommended to register (at no cost) with the APRU’s “Psychology of the Paranormal” email list to ensure that you are informed of any future changes to the programme as well as news of related events. You can also follow @chriscfrench on Twitter for announcements (including news of last-minute cancellations, changes of venue, etc.). Visit: http://www.gold.ac.uk/apru/email-network/

The Gendered Brain: The Neuroscience that Shatters the Myth of the Female Brain
Mar 26 @ 7:30 pm – 9:30 pm
The Gendered Brain: The Neuroscience that Shatters the Myth of the Female Brain @ Conway Hall

The new neuroscience that shatters the myth of the female brain. This is not feminist science – it’s just science

Reading maps or reading emotions? Barbie or Lego? We live in a gendered world where we are bombarded with messages about sex and gender. The twenty-first century world is one which seems determined to magnify ‘essential’ differences between men and women’s brains, from (or even before) the moment of birth. This comes via clothes, books, through schools, the workplace and the influence of social media.

Where do these supposed differences come from and how ‘essential’ are they?

Taking us back through centuries of sexism in science, The Gendered Brain shows how we arrived at the idea of an inferior, female brain and how cutting-edge breakthroughs in neuroscience can liberate us from this outdated understanding of what our brains can do. Gina Rippon shows us the reality behind much of the data that is used to justify the gender gap, and explains how major breakthroughs in neuroscience will help us dispel these stereotypes and ‘neurotrash’.

Gina Rippon is the author of The Gendered Brain: an accessible and polemic popular science book with huge repercussions for the gender debate, for education, for parenting and for how we identify ourselves. This is not feminist science – it is science.

Professor Gina Rippon is an international researcher in the field of cognitive neuroscience based at the Aston Brain Centre at Aston University in Birmingham. She is a highly experienced public speaker and a regular contributor to events such as the British Science FestivalNew Scientist Live and the Sceptics in the Pub series and, in 2015, was made an Honorary Fellow of the British Science Association for her contributions to the public communication of science. She is also an advocate for initiatives to help overcome the under-representation of women in STEM subjects and belongs to WISE and ScienceGrrl, and is a member of the Speakers4Schools programme.

The Gendered Brain is her first book for a general reader. It will be available on the night from Newham Bookshop.

Mar
27
Wed
Deadly tongs and Miraculous Chairs: the art and artefacts of childbirth
Mar 27 @ 2:00 pm – 3:30 pm

Sue Lawrence’s talk will explore the history of childbirth through the tools of midwives and man-midwives and the controversial aspects of their use.

Afterwards there will be an opportunity for further discussion of the topic and a display of archival material related to the subject.

There will also be the chance to see the exhibition Child Health in London before it closes on 10th April.

A Royal College of Surgeons event at London Metropolitan Archives.

Portrait of James Wolveridge, from the frontispiece of his 'Speculum matricis', including a figure of a man-midwife, pen and wash drawing.

Portrait of James Wolveridge, from the frontispiece of his ‘Speculum matricis’, including a figure of a man-midwife, pen and wash drawing.

 

 

Mar
28
Thu
Remembering Television: Then and Now (BFI Publishing)
Mar 28 @ 6:00 pm – 8:00 pm

Step inside Bloomsbury Publishing as we ask how, when ‘television’ no longer means a box in the corner of the living room that we sit and watch together, do we keep safe the television of the past?

What is the past, present and future of television? We’re experiencing a golden age right now with new show-runners, streaming services and unique collaborations popping up every other week but how does this brave new world take its cue from all that came before? Join us as we host a wide-ranging discussion with three self-confessed telly-addicts actively working to preserve the past and inspire future generations of TV producers and writers to come.

Join us as we take another look at television’s history by talking to the people who are making it their mission to keep the unforgettable moments alive for creators, researchers, writers and, most importantly, the fans. Authors of Remembering British Television, Kristyn Gorton and Joanne Garde-Hansen will be in conversation with Dr Elinor Groom, currently TV curator at the British Film Institute (BFI).

Book your ticket for Remembering Television: Then and Now on Eventbrite >>

Remembering Television: Then and Now

Apr
2
Tue
Magic, the Paranormal and the Complicity of the Mind
Apr 2 @ 8:00 pm – 10:00 pm
Magic, the Paranormal and the Complicity of the Mind @ The Miller

Professional magician-turned experimental psychologist Dr. Matthew L. Tompkins investigates the arts of deception as practiced and popularized by mesmerists, magicians, and psychics throughout history.

Matt, the author of The Spectacle of Illusion: Magic, the paranormal and the complicity of the mind, will discuss how illusions perpetuated by magicians and fraudulent mystics can not only deceive our senses but also teach us about the inner workings of our minds. And how modern scientists are increasingly turning to magic as tool for exploring human perception, memory, and belief.

Join Matt as he mixes historical stories with magical scientific demonstrations to reveal how our everyday cognitive processes can be much weirder than we imagine – and how complicit our own minds can be in the success of illusions. This talk will feature true stories of ghost rapping, mind reading, lethal autopsies, full-body-cavity ghost hunts, death defying stunts, and death…obeying stunts (i.e., stunts where the performers accidentally died for real, so literally the opposite of ‘death defying’).

Apr
3
Wed
Making evil: the science of humanity’s dark side (w/ Dr. Julia Shaw @drjuliashaw)
Apr 3 @ 7:30 pm – 8:30 pm

What is it about “evil” that we find so compelling? From our obsession with serial killers to violence in pop culture, we seem inescapably drawn to the stories of monstrous acts and the people who commit them.

In her talk, Dr Julia Shaw uses a compelling mix of science, popular culture, and real-life examples to break down timely and important issues. How similar is your brain to a psychopath’s? How many people have murder fantasies? Can A.I. be evil? Do your sexual proclivities make you a bad person? Who becomes a terrorist?

This is a wide-ranging exploration into a fascinating, darkly compelling subject.

Talks are held on the first Wednesday of the month starting at 7:30 pm unless otherwise noted. We meet in the Star and Garter pub, 60 Old Woolwich Road, London SE10 9NY. The Star and Garter pub is close to many transport links and is approximately 7 minutes walk from Maze Hill Overground Station, or 10 minutes walk from the Cutty Sark DLR Station. Although the pub does not serve food, there are plenty of excellent restaurants in Greenwich, including several very nearby on Trafalgar Road. Attendance is free (unless otherwise stated) although a small donation to help cover expenses is appreciated. There is no need to book in advance (again, unless otherwise stated).

For further information, visit http://greenwich.skepticsinthepub.org/ or contact Prof Chris French (email: [email protected]).

NB: You are strongly recommended to register (at no cost) with the “Psychology of the Paranormal” email list (run by Professor Chris French, Head of the Anomalistic Psychology Research Unit, Goldsmiths, University of London) to ensure that you are informed of any future changes to the programme as well as news of related events. You can also follow @chriscfrench on Twitter for announcements (including news of last-minute cancellations, changes of speaker, etc.).

Visit: http://www.gold.ac.uk/apru/email-network/

Apr
30
Tue
The Course / Art & Critical Analysis (Father of the Renaissance) 1/8
Apr 30 @ 10:45 am – 12:45 pm
The Course / Art & Critical Analysis (Father of the Renaissance) 1/8 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

From the earliest times, there has been criticism of art, both positive and negative. A substantial body of text survives and this series will look at a wide variety of European art works in the context of their critical reception. Concentrating on major works and significant artists from 1300 to 1900 and beyond, we will observe the impact on the public’s appreciation of art and how that might be influenced by critical analysis including the vagaries of fashion. What impact did these commentaries have on art practice and the artists themselves and can critics be seen to be responsible for influencing and thus changing the course of art history?

Father of the Renaissance

Early discourse and criticism in Italian Art/From Medieval to Renaissance (1300 – 1480)

Art discourse and criticism stretches back to a very early period. In this lecture, we will witness the inception and idea of the Renaissance and the recognition of named artists such as Cimabue and Giotto about whom texts were written. We will look at the most well-known works of both, as well as others, including Pisanello, the Pollaiuolo and Leonardo, drawing on texts from Dante Alighieri, Giorgio Vasari and others.

May
1
Wed
The Course / The Aeneid (1/10)
May 1 @ 10:45 am – 12:45 pm
The Course / The Aeneid (1/10) @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

“Our classic, the classic of all Europe, is Virgil”, said T S Eliot in 1944. 75 years on, the UK is scheduled to leave the EU, but not European culture. What better moment could there be to retrace the journey Virgil created for Aeneas: escape from the Trojan inferno, voyage to Carthage, love for Dido, abandonment of her to found a new Troy at Rome, and pilgrimage to the Underworld, a golden bough as passport. Artists picture it all as if they travelled with him.

Venus as Travel Guide (Virgil, Aeneid Book i)

Aeneas’s mother is goddess of love, so he has a head start: Venus hears Jupiter prophesy the rise of Rome, so she guides her boy to Carthage where Queen Dido welcomes him in the temple. At dinner, he begins to tell his story. Botticelli, Boucher, Cézanne, Claude, Corot, Correggio, Ingres, Angelica Kauffmann, Reni, Rubens, Tiepolo, Titian, Turner and Zucchi flock to their easels to do it all in colour.

Circular reasoning: The rise of flat earth belief (w/ Michael Marshall)
May 1 @ 7:30 pm – 8:30 pm

In 2013, when Michael Marshall first interviewed the Vice President of the Flat Earth society for his show Be Reasonable, people could scarcely believe that anyone could genuinely think the Earth was flat. Five years later, Flat Earth belief has gone mainstream, spawning thousands of hours of YouTube videos, gaining widespread international media coverage, and attracting countless followers. How did we get here?

In this talk, Marshall will talk through his experiences of the Flat Earth movement, take a look at the leaders and some of their reasoning, and report back from the weekend he spent at the UK’s first ever Flat Earth convention.

Michael Marshall is the Project Director of the Good Thinking Society and the Vice President of the Merseyside Skeptics Society. He regularly speaks with proponents of pseudoscience for the Be Reasonable podcast. His work has seen him organising international homeopathy protests, going undercover to expose psychics and quack medics, and co-founding the popular QED conference. He has written for the Guardian, The Times and New Statesman.

Talks are held on the first Wednesday of the month starting at 7:30 pm unless otherwise noted. We meet in the Star and Garter pub, 60 Old Woolwich Road, London SE10 9NY. The Star and Garter pub is close to many transport links and is approximately 7 minutes walk from Maze Hill Overground Station, or 10 minutes walk from the Cutty Sark DLR Station. Although the pub does not serve food, there are plenty of excellent restaurants in Greenwich, including several very nearby on Trafalgar Road. Attendance is free (unless otherwise stated) although a small donation to help cover expenses is appreciated. There is no need to book in advance (again, unless otherwise stated).

For further information, visit http://greenwich.skepticsinthepub.org/ or contact Prof Chris French (email: [email protected]).

NB: You are strongly recommended to register (at no cost) with the “Psychology of the Paranormal” email list (run by Professor Chris French, Head of the Anomalistic Psychology Research Unit, Goldsmiths, University of London) to ensure that you are informed of any future changes to the programme as well as news of related events. You can also follow @chriscfrench on Twitter for announcements (including news of last-minute cancellations, changes of speaker, etc.).

Visit: http://www.gold.ac.uk/apru/email-network/

May
2
Thu
The Course / The History of Art in Ten Colours (Gold) 1/10
May 2 @ 10:45 am – 12:45 pm
The Course / The History of Art in Ten Colours (Gold) 1/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and

Music.Hockney “I prefer living in colours”

The very term ‘colour’ is used differently in the C21st. This course traces the fascinating history of pigments: where they came from, how they were created, and how they have changed the course of art history. It’s a story that will take us from a single mine in Afghanistan to the serendipitous discovery of a fraudulent alchemist in Berlin to a contemporary patent for the blackest black imaginable. We’ll consider both the materiality of colours – for instance, the impact of ‘fugitive’ pigments and dyes that disappear in time – and their shifting symbolism in different cultural contexts. Re-discover paintings you thought you knew by seeing them digitally returned to their ‘real’ colours and forge new connections between artists.

Anna Akhmatova

“gold – smells of nothing”

Associated with prosperity, royalty, alchemy, Midas…. gold has an established place in painting and sculpture. Traditionally, gold leaf was made by hammering money into wafer thin leaves, so gilded panels that glowed in candlelit churches would have awed congregations. The Incas believed gold was the sweat of Inti, the sun god. But why did Joseph Beuys paint his face with gold? And what attracted Klimt and the Art Nouveau movement to it? Discover this and how contemporary sculptors like Louise Nevelson who gilded reject furniture into mass totems and Jeff Koons revived the use of gold.

May
7
Tue
The Course / Art & Critical Analysis (Gender, the Body and the Nude) 2/8
May 7 @ 10:45 am – 12:45 pm
The Course / Art & Critical Analysis (Gender, the Body and the Nude) 2/8 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

From the earliest times, there has been criticism of art, both positive and negative. A substantial body of text survives and this series will look at a wide variety of European art works in the context of their critical reception. Concentrating on major works and significant artists from 1300 to 1900 and beyond, we will observe the impact on the public’s appreciation of art and how that might be influenced by critical analysis including the vagaries of fashion. What impact did these commentaries have on art practice and the artists themselves and can critics be seen to be responsible for influencing and thus changing the course of art history?

A Critical Reinvention/Renaissance, Baroque and Impressionism: Kept Behind the Curtain (1500 – 1900)

The nude is still seen in our modern age, and has been for quite some time, as the pinnacle of creative artistic perfection but throughout the course of art history the notion of the perfect body and consequently gender has been constantly reshaped and redefined. Both the female and the male body have been honed and twisted towards an ideal that often defies belief and reality, but how do we define what is a nude and thus art, and what is not, and what was the purpose of this fascination with nudity? This session will trace the critical reinvention of the nude from the Renaissance to the Baroque and on to the modern world of Impressionism. We will hear from German art historians and criticism from the Church.

May
8
Wed
The Course / The Aeneid 2/10
May 8 @ 10:45 am – 12:45 pm
The Course / The Aeneid 2/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

“Our classic, the classic of all Europe, is Virgil”, said T S Eliot in 1944. 75 years on, the UK is scheduled to leave the EU, but not European culture. What better moment could there be to retrace the journey Virgil created for Aeneas: escape from the Trojan inferno, voyage to Carthage, love for Dido, abandonment of her to found a new Troy at Rome, and pilgrimage to the Underworld, a golden bough as passport. Artists picture it all as if they travelled with him.

The Trojan Horse, and What Happened Next (ii)

Aeneas transports Dido and us back to the fateful sequence of events when a Greek agent’s deceit and the priest Laocoon’s strangulation by sea serpents finally convince the Trojans to take the horse inside the city of Troy and so unleash their own destruction. The Carracci, El Greco, Fragonard, Guérin, the Mykonos Vase, Raphael, Rosa, Schopin and Tiepolo tell it how it was.

May
9
Thu
The Course / The History of Art in Ten Colours (Blue) 2/10
May 9 @ 10:45 am – 12:45 pm
The Course / The History of Art in Ten Colours (Blue) 2/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and

Music.Hockney “I prefer living in colours”

The very term ‘colour’ is used differently in the C21st. This course traces the fascinating history of pigments: where they came from, how they were created, and how they have changed the course of art history. It’s a story that will take us from a single mine in Afghanistan to the serendipitous discovery of a fraudulent alchemist in Berlin to a contemporary patent for the blackest black imaginable. We’ll consider both the materiality of colours – for instance, the impact of ‘fugitive’ pigments and dyes that disappear in time – and their shifting symbolism in different cultural contexts. Re-discover paintings you thought you knew by seeing them digitally returned to their ‘real’ colours and forge new connections between artists.

Blue Cennino Cennini

“illustrious, beautiful and most perfect, beyond all other colours”

Ancient Egyptians were unusual for valuing blue so early on. It wasn’t until the C12th in Europe that Abbot Suger, proponent of Gothic architecture, stated blue was divine. Discover how blue went on to become the most venerated pigment in Medieval and Renaissance art and how chemists strove to replace costly lapis lazuli. Why is denim ubiquitous? What made Yves Klein smear his nude models in blue paint? Explore blues through the works of Giotto, Holbein, Titian, Vermeer, Van Gogh, Picasso, Matisse, and Hockney amongst others.

May
15
Wed
The Course / The Aeneid 3/10
May 15 @ 10:45 am – 12:45 pm
The Course / The Aeneid 3/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

“Our classic, the classic of all Europe, is Virgil”, said T S Eliot in 1944. 75 years on, the UK is scheduled to leave the EU, but not European culture. What better moment could there be to retrace the journey Virgil created for Aeneas: escape from the Trojan inferno, voyage to Carthage, love for Dido, abandonment of her to found a new Troy at Rome, and pilgrimage to the Underworld, a golden bough as passport. Artists picture it all as if they travelled with him.

Out of the Burning Fiery Furnace of the City of his Birth (ii)

Cassandra is dragged away, the palace besieged, the Greeks are rampant, King Priam dies, and Venus prevents Aeneas from avenging Troy through killing Helen. Aeneas now knows that the time has come to flee: he carries his old father, leading his wife Creusa and son, Ascanius. But Creusa is lost. Barocci, Batoni, Bernini, Blondel, Claude, Genga, Nanteuil, Vouet and West picture it all.

 

May
16
Thu
The Course / The History of Art in Ten Colours (Red) 3/10
May 16 @ 10:45 am – 12:45 pm
The Course / The History of Art in Ten Colours (Red) 3/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and

Music.Hockney “I prefer living in colours”

The very term ‘colour’ is used differently in the C21st. This course traces the fascinating history of pigments: where they came from, how they were created, and how they have changed the course of art history. It’s a story that will take us from a single mine in Afghanistan to the serendipitous discovery of a fraudulent alchemist in Berlin to a contemporary patent for the blackest black imaginable. We’ll consider both the materiality of colours – for instance, the impact of ‘fugitive’ pigments and dyes that disappear in time – and their shifting symbolism in different cultural contexts. Re-discover paintings you thought you knew by seeing them digitally returned to their ‘real’ colours and forge new connections between artists.

Red Keith Haring

“Red is one of the strongest colours, it’s blood, it has a power with the eye.”

Pliny said the colour came from the merging of the blood of an elephant and a dragon when they fought. There are myriad reds: alizarin crimson, vermilion, rose madder, Venetian, Indian, iodine scarlet, and cochineal which took the bodies of 80 female beetles, imported from the Americas, to make 1g. Why should waitresses wear red? How did Rothko transform it into the colour of despair? Discover how artists such as JMW Turner used red to enliven their work, and how others like Reynolds and Velasquez saw their reds fade away.

Museums at Night – ‘Candle Lit’ Architectural Tours
May 16 @ 6:00 pm – 9:00 pm

Thursday 16 & Friday 17 May, 6pm, 7pm & 8pm

The atmospheric rooms of Benjamin Franklin’s only remaining residence will be the feature of this night-time architectural tour, highlighting the original features of our Grade I listed Georgian townhouse in evening light.

£10/per person, drink included

Tickets available via Eventbrite

May
17
Fri
Museums at Night – ‘Candle Lit’ Architectural Tours
May 17 @ 6:00 pm – 9:00 pm

Thursday 16 & Friday 17 May, 6pm, 7pm & 8pm

The atmospheric rooms of Benjamin Franklin’s only remaining residence will be the feature of this night-time architectural tour, highlighting the original features of our Grade I listed Georgian townhouse in evening light.

£10/per person, drink included

Tickets available via Eventbrite

May
21
Tue
The Course / Art & Critical Analysis (The Trouble with Venetian Painting) 3/8
May 21 @ 10:45 am – 12:45 pm
The Course / Art & Critical Analysis (The Trouble with Venetian Painting) 3/8 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

From the earliest times, there has been criticism of art, both positive and negative. A substantial body of text survives and this series will look at a wide variety of European art works in the context of their critical reception. Concentrating on major works and significant artists from 1300 to 1900 and beyond, we will observe the impact on the public’s appreciation of art and how that might be influenced by critical analysis including the vagaries of fashion. What impact did these commentaries have on art practice and the artists themselves and can critics be seen to be responsible for influencing and thus changing the course of art history?

The Trouble With Venetian Painting

Why the Renaissance could only be a Florentine/Giorgio Vasari and the Critical Appraisal of Venetian Art (1500-1594)

To this very day Florence is not only seen but is the self-proclaimed city of the Renaissance. But how did it receive this exulted status which it so jealously guards? We will look at the powerhouse of Renaissance art that is the city of Venice and why it never historically achieved the same accolade as Florence. We will also look at how art criticism can and did have a profound and long-lasting effect on how Venetian art was and still is perceived.

May
22
Wed
The Course / The Aeneid 4/10
May 22 @ 10:45 am – 12:45 pm
The Course / The Aeneid 4/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

“Our classic, the classic of all Europe, is Virgil”, said T S Eliot in 1944. 75 years on, the UK is scheduled to leave the EU, but not European culture. What better moment could there be to retrace the journey Virgil created for Aeneas: escape from the Trojan inferno, voyage to Carthage, love for Dido, abandonment of her to found a new Troy at Rome, and pilgrimage to the Underworld, a golden bough as passport. Artists picture it all as if they travelled with him.

The Escape: A Tale of Accidents, Monsters, Landfalls (iii; iv)

Aeneas builds a fleet. They sail to Delos, Crete, the Strophades, Italy and Sicily, and so to Carthage. Dido falls in love with Aeneas, and the gods debate their destiny. The two go hunting and shelter from a storm in a cave whose atmosphere suggests love’s consummation. A. Carracci, Claude, Guignet, Janssens, Thomas Jones, Miel, Morrison, Tiepolo, Tischbein and Turner are visionary here.

May
23
Thu
The Course / The History of Art in Ten Colours (Green) 4/10
May 23 @ 10:45 am – 12:45 pm
The Course / The History of Art in Ten Colours (Green) 4/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and

Music.Hockney “I prefer living in colours”

The very term ‘colour’ is used differently in the C21st. This course traces the fascinating history of pigments: where they came from, how they were created, and how they have changed the course of art history. It’s a story that will take us from a single mine in Afghanistan to the serendipitous discovery of a fraudulent alchemist in Berlin to a contemporary patent for the blackest black imaginable. We’ll consider both the materiality of colours – for instance, the impact of ‘fugitive’ pigments and dyes that disappear in time – and their shifting symbolism in different cultural contexts. Re-discover paintings you thought you knew by seeing them digitally returned to their ‘real’ colours and forge new connections between artists.

Green Leonardo

“Green made of copper, even when this colour is mixed with oil, loses its beauty like smoke if it is not quickly varnished”

The Chinese associate green (and black) with the female Yin – the passive and receiving principle; Islam venerates it as paradise. But what was taboo about green in the Medieval period? And why was green blamed for child death? Discover a host of greens including verdigris, Egyptian and emerald greens and how these were used by Renaissance masters like Duccio and Michelangelo, the Pre-Raphaelite artists, and the Impressionists and post-Impressionists like Cézanne.

May
29
Wed
The Course / The Aeneid 5/10
May 29 @ 10:45 am – 12:45 pm
The Course / The Aeneid 5/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

“Our classic, the classic of all Europe, is Virgil”, said T S Eliot in 1944. 75 years on, the UK is scheduled to leave the EU, but not European culture. What better moment could there be to retrace the journey Virgil created for Aeneas: escape from the Trojan inferno, voyage to Carthage, love for Dido, abandonment of her to found a new Troy at Rome, and pilgrimage to the Underworld, a golden bough as passport. Artists picture it all as if they travelled with him.

The Work-life Balance Tips towards Destiny and Departure (iv)

The menace of Rumour is abroad. Jupiter sends Mercury to tell Aeneas his duty is to leave Carthage for Italy. Aeneas braces himself to break the news to Dido, whose nightmares now resolve her to die. Mercury visits Aeneas in a dream: he must go now to save his life and those of his companions. Claude is at the scene, as are Dossi, Giacquinto, Manetti, Reni, Tiepolo and Turner.

May
30
Thu
The Course / The History of Art in Ten Colours (Yellow) 5/10
May 30 @ 10:45 am – 12:45 pm
The Course / The History of Art in Ten Colours (Yellow) 5/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and

Music.Hockney “I prefer living in colours”

The very term ‘colour’ is used differently in the C21st. This course traces the fascinating history of pigments: where they came from, how they were created, and how they have changed the course of art history. It’s a story that will take us from a single mine in Afghanistan to the serendipitous discovery of a fraudulent alchemist in Berlin to a contemporary patent for the blackest black imaginable. We’ll consider both the materiality of colours – for instance, the impact of ‘fugitive’ pigments and dyes that disappear in time – and their shifting symbolism in different cultural contexts. Re-discover paintings you thought you knew by seeing them digitally returned to their ‘real’ colours and forge new connections between artists.

Richard le Gallienne

“till one comes to think of it, one hardly realizes how important and pleasant things in life are yellow”

Yellow is associated with peace and knowledge in India. But how did it go from being the Imperial colour for the Chinese to a symbol of notoriety in late C19th Europe? Discover the range of yellows from the Indian yellow made from the urine of cows fed only on mango leaves and water to the chrome of Van Gogh’s sunflowers. And learn why Kandinsky included it in his key colours and one of today’s most influential installation artists, Olafur Eliasson, uses it in his practice.

Jun
4
Tue
The Course / Art & Critical Analysis (Vasari and Michelangelo) 4/8
Jun 4 @ 10:45 am – 12:45 pm
The Course / Art & Critical Analysis (Vasari and Michelangelo) 4/8 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

From the earliest times, there has been criticism of art, both positive and negative. A substantial body of text survives and this series will look at a wide variety of European art works in the context of their critical reception. Concentrating on major works and significant artists from 1300 to 1900 and beyond, we will observe the impact on the public’s appreciation of art and how that might be influenced by critical analysis including the vagaries of fashion. What impact did these commentaries have on art practice and the artists themselves and can critics be seen to be responsible for influencing and thus changing the course of art history?

Giorgio Vasari and ‘The Divine Michelangelo’

The Signature Projects and their critical reception (1494-1564)

In his time, Michelangelo was the most written about artist and also the first to have literature published about him in his own lifetime. We will look at the uneasy relationship between Michelangelo, the artist and Giorgio Vasari, the art historian, as well as others who wrote about him. How did such adulation affect him and his work? We will also look at the development of the man through his most iconic works and evaluate their criticism through writing that survives and is still in publication.

Jun
5
Wed
The Course / The Aeneid 6/10
Jun 5 @ 10:45 am – 12:45 pm
The Course / The Aeneid 6/10 @ The Course at The University Womens Club | England | United Kingdom

Established in 1994, The Course offers exciting lectures in Art History, Literature and Music.

“Our classic, the classic of all Europe, is Virgil”, said T S Eliot in 1944. 75 years on, the UK is scheduled to leave the EU, but not European culture. What better moment could there be to retrace the journey Virgil created for Aeneas: escape from the Trojan inferno, voyage to Carthage, love for Dido, abandonment of her to found a new Troy at Rome, and pilgrimage to the Underworld, a golden bough as passport. Artists picture it all as if they travelled with him.

As the Fleet Sails, so Dido’s Pyre is set alight (iv; v)

Dido immolates herself. At sea, Aeneas and his crew look back, see the fire, but do not realize why it is burning. A storm drives them to Sicily, where they visit the tomb of Aeneas’s father Anchises and stage memorial games: sea-racing, athletics, boxing, archery, horsemanship. Trojan women fire the ships. Bourdon, Cayot, Coypel, Fuseli, Guercino, Reynolds, Robson, Rubens, Sacchi, Tiepolo.

…Quack quack here: Pseudoscience in veterinary practice (w/ Dr. Danny Chambers @DannyVet)
Jun 5 @ 7:30 pm – 8:30 pm

You may be surprised to hear that the anti-vaccination movement is not restricted to human medicine – animal owners are increasingly turning their back on conventional medicine and seeking out unproven alternatives such as homeopathy or chiropractic – often at the detriment of their animal’s health. You might be even more surprised to learn about the myriad other forms of pseudoscience animals are subjected to, including the common practice of ‘horse psychics’. Danny Chambers will discuss the use of pseudoscience encountered in veterinary practice, and the implications this has on both animal and human health and wellbeing.

Danny grew up on a farm in Devon, graduated from Liverpool Vet School, and has written about and campaigned against the use of pseudoscience in veterinary practice for several years. He was described as the ‘veterinary Ben Goldacre’ at two different conferences recently.

Danny has a particular interest in the concept of ‘One Health’ – the recognition that human and animal health is interlinked, and as a result he has worked on veterinary projects that benefit both human and animal health in India, Iraq, Morocco and The Gambia.

He enjoys mountain biking (badly) and playing the guitar (badly).

Danny occasionally writes for New Scientist magazine.

Twitter – @DannyVet

Instagram – @danny_the_vet

 

Talks are held on the first Wednesday of the month starting at 7:30 pm unless otherwise noted. We meet in the Star and Garter pub, 60 Old Woolwich Road, London SE10 9NY. The Star and Garter pub is close to many transport links and is approximately 7 minutes walk from Maze Hill Overground Station, or 10 minutes walk from the Cutty Sark DLR Station. Although the pub does not serve food, there are plenty of excellent restaurants in Greenwich, including several very nearby on Trafalgar Road. Attendance is free (unless otherwise stated) although a small donation to help cover expenses is appreciated. There is no need to book in advance (again, unless otherwise stated).

For further information, visit http://greenwich.skepticsinthepub.org/ or contact Prof Chris French (email: [email protected]).

NB: You are strongly recommended to register (at no cost) with the “Psychology of the Paranormal” email list (run by Professor Chris French, Head of the Anomalistic Psychology Research Unit, Goldsmiths, University of London) to ensure that you are informed of any future changes to the programme as well as news of related events. You can also follow @chriscfrench on Twitter for announcements (including news of last-minute cancellations, changes of speaker, etc.).

Visit: http://www.gold.ac.uk/apru/email-network/