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Dr Tom Slevin

Senior Lecturer

Department of Art and Music

Tom Slevin, Senior Research Fellow


Dr Tom Slevin has a cross-disciplinary background in visual culture, working across photography, art history, media and film. His research has been externally reviewed as 'world-leading' (4* REF quality) and he has received multiple nominations and awards for teaching including 'Outstanding Teaching' and 'Most Innovative Teaching'.

Tom has published numerous works around the themes of modern visual culture, photography, critical theory, the European artistic avant-garde, the philosophy of technology and bodily representation.

He previously taught Film and Media at Royal Holloway University of London, and Photography at University for the Creative Arts.

He is currently Director of Studies and co-advisor for four PhD students working on visual and/or art practice-based research. He is also an External Examiner at Falmouth University.

A current list of publications, conference presentations and talks can be found here: and

Further information

Slevin, T. ‘Block Teaching in Art & Design: Pedagogy and the Student Experience’ (forthcoming journal article)

Slevin, T. ‘X-Rays: Technological Revelation and its Cultural Receptions’ in The Edinburgh Companion to Modernism and Technology. Eds. Alex Goody and Ian Whittington. Forthcoming.

Slevin, T. ‘Towards Praxis and Poeisis: what ‘Photography’ and how ‘Theory’?’ (Association for Art History, Brighton University, April 2019).

Slevin, T. ‘Mind-Body-Technology: Towards a Theory of Prosthetic “Trialism”’ in Anatomical Theatre – Anthology. Ed. Petrine Vinje. (Norway, Oslo: Utten Tittel, 2018).

Slevin, T. ‘Between Life and Death: The Expansion of Perception and Knowledge Towards the Human Body within Photographic Modernity’ (Modernist Life Conference, British Association of Modernist Studies, Birmingham University, 13 – 15 July 2017).

Slevin, T. ‘Vision, revelation, violence: Technology and expanded perception within photographic history’ Philosophy of Photography (Vol. 9, Number 1, April 2018).

Slevin, T. ‘Vision, Control, Power: Identity and Optical Technologies’ (‘Invisible Identity and the Creative Act Conference’, Southampton Solent University, 8 December 2017).

Slevin, T. 'Technological Vision: Presencing, Enframing, Power'. ('The Practice of (in)Visibility' Conference, University of Brighton, June 2015).

Slevin, T. 'Visions of the Human: Art, World War One, and the Modernist Subject' (I.B. Tauris, 2015.)

Slevin, T. ‘Technology’ Philosophy of Photography (Vol. 4, Issue 2, December 2013.)

Slevin, T. ‘The Body, “Biocepts”, and Technology’. Conference Paper for ‘Body/Mind’ Symposium, Norwegian Sculpture Biennale (University of Oslo, November 2013.)

Slevin, T. ‘Prosthetic Memory’ Philosophy of Photography (Vol. 4, Issue 1, September 2013.)

Slevin, T. ‘Sonia Delaunay’s Robe Simultanée: Modernity, Fashion and Transmediality.’ Fashion Theory: The Journal of Dress, Body, and Culture (Vol. 17 No. 1, March 2013.)

Slevin, T. ‘Photography and its Condition as Technological Prosthesis.’ Conference Paper for ‘Expanded Photographies: Technology, Perception, Representation’ (Southampton Solent University, October 2012.)

Slevin, T. ‘“The catastrophe of my existence”: Facing Death in Roger de la Fresnaye’s Self-Portraiture.’ Angelaki: Journal of Theoretical Humanities (Vol. 16, No. 1, May 2011) pp. 181-198.

Slevin, T. ‘Existence, Ethics and Death in Andrei Tarkovsky’s cinema: the cultural philosophy of Solaris’ (Film International: Journal of World Cinema, Vol. 8, No. 2, June 2010) pp. 49-62.

Slevin, T. ‘The Redemption of the Image: Trauma, Repetition, Simulation in Andrei Tarkovsky's Solaris.’ Conference Paper for ‘Re-Living Disaster: Film – History – Identity’ (April 2010, London Consortium.)

Slevin, T. ‘The Wound and the First World War: ‘Cartesian’ Surgeries to Embodied Being in Psychoanalysis, Electrification and Skin Grafting.’ Body and Society (June 2008, Volume 14, No.2) pp.39-61.

Taught courses

BA (Hons) Photography

Focus your creative vision and develop your ideas using a range of large and medium format cameras, digital editing suites and even traditional film processing facilities.