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Mirjam Brusius (Editor), Katrina Dean (Editor), Chitra Ramalingam (Editor)
Description: William Henry Fox Talbot: Beyond Photography
Notes on Contributors
Author
Mirjam Brusius (Editor), Katrina Dean (Editor), Chitra Ramalingam (Editor)
PublisherYale Center for British Art
PublisherPaul Mellon Centre
Notes on Contributors
June Barrow-Green is a Senior Lecturer in the History of Mathematics at the Open University. She is associate editor of The Princeton Companion to Mathematics (2008); author of Poincaré and the Three Body Problem (1997) and “Wranglers in Exile: Mathematics in the British Empire,” in Mathematics in Victorian Britain (2011); and coauthor of “Geometry at Cambridge, 1863–1940,” in Historia Mathematica (2006).
Mirjam Brusius is a Postdoctoral Researcher at the Mahindra Humanities Center at Harvard University. She is the author of “Inscriptions in a Double Sense: An Early Scientific Photograph of Script,” in Nuncius: Journal of the History of Science (2009); “Impreciseness in Julia Margaret Cameron’s Portrait Photographs,” in History of Photography (2010); and “Misfit Objects: Layard’s Excavations in Ancient Mesopotamia and the Biblical Imagination in Mid-Nineteenth Century Britain,” in the Journal of Literature and Science (2012).
Katrina Dean is University Archivist at the University of Melbourne. She is the author of “Demonstrating the Melbourne University Respirator,” in the Australian Journal of Politics and History (2007), and coauthor of “Data in Antarctic Science and Politics,” in Social Studies of Science (2008), and “Digital Lives: Report of Interviews with the Creators of Personal Digital Collections,” in Ariadne (2008).
Vered Maimon is a Senior Lecturer in the Department of Art History at Tel Aviv University. She is coeditor of Communities of Sense: Rethinking Aesthetics and Politics (2009) and author of, among others, “Displaced ‘Origins’: William Henry Fox Talbot’s The Pencil of Nature,” in History of Photography (2008); “The Third Citizen: On Models of Criticality in Contemporary Artistic Practices,” in October (2009); and “On the Singularity of Early Photography: William Henry Fox Talbot’s Botanical Images,” in Art History (2011).
Chitra Ramalingam is a British Academy Postdoctoral Research Fellow in the Department of History and Philosophy of Science at the University of Cambridge. She is the author of “Natural History in the Dark: Seriality and the Electric Discharge in Victorian Physics,” in History of Science (2010); “Fixing Transience: Photography and Other Images of Time in 1830s London,” in Time and Photography (2010); and the book “To See a Spark: Experiment and Visual Experience in Victorian Science” (in progress).
Eleanor Robson is a Reader in Ancient Middle Eastern Science in the Department of History and Philosophy of Science at the University of Cambridge. She is the author of Mesopotamian Mathematics, 2100–1600 BC: Technical Constants in Bureaucracy and Education (1999); “Words and Pictures: New Light on Plimpton 322,” in the American Mathematical Monthly (2002); and Mathematics in Ancient Iraq: A Social History (2008).
Larry J. Schaaf is an independent historian and consultant based in Baltimore. He is the founder and Director of the online Correspondence of William Henry Fox Talbot Project and author of Out of the Shadows: Herschel, Talbot, & the Invention of Photography (1992) and The Photographic Art of William Henry Fox Talbot (2000).
Simon Schaffer is Professor of History of Science at the University of Cambridge. He is a member of the Advisory Board of the Science Museum and a Fellow of the British Academy. His most recent publications include essays on disciplines and institutions in nineteenth-century sciences.
Anne Secord is an Affiliated Research Scholar in the Department of History and Philosophy of Science at the University of Cambridge, and an editor of The Correspondence of Charles Darwin. She is the author of “Pressed into Service: Specimens, Space, and Seeing in Botanical Practice,” in Geographies of Nineteenth-Century Science (2011); a new Oxford World’s Classics edition of Gilbert White, The Natural History of Selborne (2013); and the book “Artisan Naturalists” (in progress).
Graham Smith is Professor Emeritus in Art History at the University of St. Andrews and a Fellow of the Royal Society of Edinburgh. He is the author of “Light that Dances in the Mind”: Photographs and Memory in the Writings of E. M. Forster and His Contemporaries (2007) and Photography and Travel (2012).
Herta Wolf is Professor in the History and Theory of Photography at the Institute for the History of Art at the University of Cologne. She is the author of “The Tears of Photography,” in Grey Room (2007); “Collections of All Kinds Will Be Formed,” in Photoresearcher (2010); and “Wolken: Zum Beispiel,” in Wolken: Welt des Flüchtigen (2013); and the editor of two anthologies on photography, Diskurse der Fotografie (2002) and Paradigma Fotografie: Fotokritik am Ende des fotografischen Zeitalters (2003).
Notes on Contributors
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