TECHNE Studentships

UAL is a member of the Arts and Humanities Research Council (AHRC) TECHNE Doctoral Training Partnership.

TECHNE brings together 7 universities in London and the southeast of England to provide studentships and training for the contemporary postgraduate researcher in a fully-formed programme for academic, professional and early career development.

TECHNE welcomes both interdisciplinary research proposals and those focused within traditional discipline areas, and around 50 new awards, covering tuition fees and maintenance (depending on eligibility), are made each year across the consortium for a range of arts and humanities disciplines.

Maintenance rates for 2017/18 for full-time students is £16,553.

TECHNE application process

Download the TECHNE Application Form 2018-19 (Word 847KB)

New and deferred students

Applicants for TECHNE awards must have been accepted on the research degree programme at UAL.

Initial applications to TECHNE from new and deferred students must be submitted to the UAL Research Student Team at by 9am Monday 8 January 2018. (TECHNE applications submitted to UAL after this date will not be considered).

Continuing students

Home and EU students in their first year of full time study or their first 3 years of part time study may be eligible to apply for AHRC funding.

All TECHNE applicants: Final deadline for submission of TECHNE Applications must be made to the UAL Research Student Team at before midnight on Sunday 28 January 2018.

More about TECHNE

Students will require both a thorough grounding in disciplinary specificity and an interdisciplinary skillset for an intellectual landscape in which scholarship, history, theory and practice are becoming increasingly and complexly intertwined.

Conventional distinctions between traditional scholarship and practice-based research as well as disciplinary boundaries are all increasingly at odds with the needs of researchers to foster multiple capabilities as they prepare for a diverse range of professional outcomes and career portfolios, both within and beyond the academia.

In this sense we recognise that techne is inseparable from the episteme, phronesis and poeisis, while training will successfully negotiate the new realities of the knowledge economy and require a patient and full apprenticeship in the craft of research.

TECHNE subject areas

TECHNE studentships are available in the following subjects at University of the Arts London:

  • Visual Arts: Fine Art History, Theory and Practice
  • Visual Arts: Applied Arts History, Theory and Practice
  • Visual Arts: Digital Arts & Photography History, Theory and Practice
  • Visual Arts (covering Art Theory & Aesthetics; Community Art; Installation and Sound Art History, Theory and Practice ; Film-Based and Time-Based History, Theory and Practice)
  • Drama and Theatre Studies
  • Cultural Studies (Policy, Arts Management and Creative Industries)
  • Media, Film and TV
  • Visual Arts: Art History
  • Library and Information Studies
  • Cultural Studies
  • Cultural and Museum Studies (i.e cultural geography, museum studies, heritage and conservation)

Current TECHNE awardees

  • Jennifer Allen: Fog Tropes: The social and cultural history of the foghorn 1853 to the present day (London College of Communication, 2015)
  • Lisa Colpaert: Screen-to-measure: A practice-based, formative and historical study of Edith Head’s costume designs in the 1940s noir thrillers (London College of Fashion 2016)
  • Kate Fahey: Touching the Image: Affect, truth and the viewer in internet-sourced operational images. (London College of Communication, 2016)
  • Miranda Garrett: Professional Women Interior Decorators, 1874 to 1900 (Central Saint Martins, 2014)
  • Jonathan Gilmurray: Ecoacoustics: ecology and environmentalism in contemporary music and sound art. (London College of Communication, 2014).
  • Onyeka Igwe: Activating the Document: strategies of critical proximity in archive based moving image work.  (London College of Communication, 2016)
  • Bethany Lamont: Transferring trauma: understanding distressing images and ghoulish spectres in the Internet culture. (Central Saint Martins, 2015)
  • Louise Marshall: Deep Listening: the strategic practice of female experimental composers post 1945. (London College of Communication, 2014)
  • Aurelie Martin: Navigating through bindings: Study of the bookbindings of ship's logbooks from maritime empires in early modern Europe. (Chelsea, Camberwell and Wimbledon, 2014).
  • Jennifer Murray: Manuscript fragments and the bindings from which they were removed: Recording the evidence. (Chelsea, Camberwell and Wimbledon, 2014)
  • Francesca Peschier: Theatre Design in Regional Theatre: Realising the Visual at The Liverpool Everyman and Playhouse 2003 – 2015. (Chelsea, Camberwell and Wimbledon, 2015)
  • Matt Parker:Close to the Machine: Composing Digital Materiality through a Sonic Archive Practice (London College of Communication, 2015)
  • Irene Revell: Performing ‘Womens Work’: what constitutes a feminist performance score and how does it extend our understandings of contemporary art practices? (London College of Communication, 2016)
  • Timothy Smith: Haptic Aurality and the Queering of Memory in the work of John Akomfrah, Clio Barnard and Patrick Keiller.(Chelsea, Camberwell and Wimbledon , 2016)
  • Eleanor Suess: Constructing the architectural moving drawing: transdisciplinary practices between architecture and artists’ film. (Central Saint Martins, 2015)
  • Premila Van Ommen: Being “Gurkha”, Becoming British: Fashion, Creativity and Diaspora Identity Formation Amongst Young Nepali Migrants. (London College of Fashion, 2016)