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Postgraduate "Work In Progress" Seminar

Postgraduate Work-In-Progress Seminar

A weekly seminar for Philosophy postgraduates to present their in-progress work, followed by a well-spirited trip to the pub.


Overview

The WIP provides a risk-free and supportive space for postgraduates to present their work and receive feedback from other graduates and faculty.

  • When: Every Thursday (5pm to 6:15pm)
  • Where: Room S1.50 (Social Sciences Building, First Floor)
  • What: Presentation + Q&A

Attendance optional but highly recommended. All postgraduates are welcome to present or attend -- whether MA, MPhil, PhD, Visitors, etc.


Useful Info

The WIP is a unique opportunity for graduates to develop their presenting and writing skills, take risks, test out ideas, and receive constructive feedback from peers.

  • Presentation: 30 minutes
  • Open Discussion / Q&A: 40 minutes
  • Material: Work in progress (essay drafts, thesis sections, a substantial set of notes, ... ).
  • Style: Flexible. Slides, handouts, or neither.
  • Audience: No prior reading or background knowledge expected. All are encouraged to attend and present (including visiting postgraduates).

Presentations need not be watertight or polished pieces at all. You are encouraged to present work at all stages of the writing process.


Should you present?

Are you a postgraduate? Then yes, you should present.

 
NEXT TALK

Rozemin Keshvani

(PhD)

Kant


Thursday 25/06/2026

5pm - 6:15pm

S1.50


ORGANISERS

Tiago Rodrigues

Lucas Menezes 

   

 

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PG Work in Progress Seminar

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Location: MS Teams

Chris Earley, 'Adrian Piper's Epistemic Activism'.

 Abstract

Political art often engages in epistemic activism, attempting to change its audiences’ cognitive standing on a topic of political import. In this presentation, I will focus on one instance of epistemic activism in art: Adrian Piper’s installationFour Intruders plus Alarm Systems (1980). Piper’s work is both an exemplary work of epistemic activism, but also reveals the tensions between the epistemic exceptions artists experiment with and the normative demands placed on productive political activity. In Piper’s case, this tension led to an inability to change some of her audience’s cognitive standing. I propose two ways to respond to such tension: conciliation, which proposes that activist artists have distinct reasons to fit their work to their audience’s normative expectations, and steadfastness, which proposes that activist artists have distinct reasons to challenge and provoke their audiences, even if they open themselves up to failure. I claim that steadfastness better captures political art’s humility regarding success and allows us to more clearly account for the riskiness that is necessary for productive experimentation in political life.

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