Murray's Blog

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By Murray on May 17th, 2011

The National Endowment for the Arts has awarded a 2011 collaboration grant to Turbulence.org to develop an offline archive of its NET ART...

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By Murray on May 17th, 2011

The Office of Senator Kirsten E. Gillibrand and Cornell University Society for the Humanities Present:“Promoting the Arts, Cultural Institutions...

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By Murray on Oct 14th, 2010

We're excited to announce that we'll be live videostreaming most of the Society for the Humanities conference on Global Aesthetics: Intersecting...

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By Murray on Oct 10th, 2010

The Cornell Chronicle has published an article on the Society for the Humanities Digital Humanities Initiative, which supports the HASTAC Scholar...

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By Murray on Oct 6th, 2009

HASTAC members might be interested in this testimony, which I delivered on September 15, 2009, to Governor...

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By Murray on Oct 17th, 2008

Society for the Humanities, Cornell University Presents:

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About Murray

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Tim Murray received his Ph.D. in Comparative Literature from The Johns Hopkins University. Professor of Comparative Literature and English, and Director of Graduate Studies in Film and Video, his areas of research include new media, film and video, and visual studies, as well as seventeenth-century studies and literary theory, with strong interests in philosophy and psychoanalysis. He is the founding Curator of The Rose Goldsen Archive of New Media Art in the Cornell Library, the Co-Curator of CTHEORY Multimedia, and curated the travelling exhibition, "Contact Zones: The Art of CD-Rom." He is the author of Zonas de Contacto: el arte en CD-Rom (1999); Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art (1997); Like a Film: Ideological Fantasy on Screen, Camera, and Canvas (1993); Theatrical Legitimation: Allegories of Genius In XVIIth-Century England and France (1987). He is editor of Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Though (1997) and , with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture (1997). His is completing an edited collection, Digitality and the Memory of Cinema and a monography, Digital Intensities: Electronic Art, Baroque Vision, and Cultural Memory.

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