<\/p>\n
Session 1<\/span><\/strong> Anne McCauley, Professor of Art History, University of Massachusetts, Boston<\/em> Mike Ware, Consultant to the National Museum of Photography, Film & Television, Bradford<\/em> Michael Gray Douglas Nickel, Curator of Photography at the San Francisco Museum of Modern Art<\/em> Session 2<\/span><\/strong> Graham Smith, Professor of Art History and Curator of Painting at the University St Andrews<\/em> Nancy Keeler, Independent art historian, Paris<\/em> Andr\u00e9 Gunthert, art historian, Secretary General of the Soci\u00e9t\u00e9 Francaise de Photographie and Editor of \u00e9tudes photographiques, Paris<\/em> Stephen Bann, Professor of Modern Cultural Studies at the University of Kent<\/em> Session 3<\/span><\/strong> Catherine Rogers, artist, independent scholar, Australia<\/em> Steve Edwards, lecturer in art history at the Open University, Derby<\/em> Carol Armstrong, Professor of Women and Gender Studies and Art and Archaeology, Princeton University<\/em> Joel Snyder, Professor and Chair, Department of Art History, University of Chicago<\/em> Session 4<\/span><\/strong> Larry Schaaf, currently Professor at the University of Glasgow and Project Director for The Correspondence of William Henry Fox Talbot<\/em> Hubertus von Amelunxen, Professor of Cultural Studies and the founding Director of the Centre for Interdisciplinary Research at the Muthesius Academy of Architecture, Design and Fine Arts in Kiel<\/em> Mike Weaver, Professorial Fellow Emeritus at Linacre College, Oxford, co-editor of History of Photography<\/em> Geoffrey Batchen, Associate Professor of the History of Photography at the University of New Mexico in Albuquerque<\/em> Retracing the Image: The Emergence of Photography in the Nineteenth Century 16 to 17 June 2000, Museum for Photography, Film & Television, Bradford\/UK<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[77],"tags":[],"_links":{"self":[{"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/posts\/67"}],"collection":[{"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/comments?post=67"}],"version-history":[{"count":6,"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/posts\/67\/revisions"}],"predecessor-version":[{"id":265,"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/posts\/67\/revisions\/265"}],"wp:attachment":[{"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/media?parent=67"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/categories?post=67"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.eshph.org\/symposium\/wp-json\/wp\/v2\/tags?post=67"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n Chair: Ian Jeffrey, historian<\/em><\/span><\/p>\n
\n\u00bbNatural Philosophy, Romanticism, and the Invention of Photography\u00ab<\/strong><\/p>\n
\n\u00bb\u2018A Vibration in the Phosphorus\u2019: Luminescence and the Invention of Photography\u00ab<\/strong><\/p>\n
\n\u00bbFrom the Land of the Cimmeran Darkness: The Idea of Photography\u00ab<\/strong><\/p>\n
\n\u00bbTalbot\u2019s Natural Magic\u00ab<\/p>\n
\n Chair: Pam Roberts, Royal Photographic Society, Bath<\/em><\/span><\/p>\n
\n\u00bbThe Reception of Talbot\u2019s Invention in Italy\u00ab<\/strong><\/p>\n
\n\u00bbInventors and Entrepreneurs: the Early History of Calotype Exploitation\u00ab<\/strong><\/p>\n
\n\u00bbThe Name of Photography: the Reception of the Work of William Henry Fox Talbot in France\u00ab<\/strong><\/p>\n
\n\u00bbPhotography, Printmaking and the Visual Economy in the 19th Century France\u00ab<\/strong><\/p>\n
\n Chair: David Bate, University of Westminster, London<\/em><\/span><\/p>\n
\n\u00bbThe Nature of Evidence: \u2018The Pencil of Nature\u2019, WHF Talbot, Photography and the Camera\u00ab<\/strong><\/p>\n
\n\u00bbThe Dialectics of Skill in Talbot\u2019s Dream World\u00ab<\/strong><\/p>\n
\n\u00bbA Scene in a Library: reading \u2018The Pencil of Nature\u2019\u00ab<\/strong><\/p>\n
\n\u00bbEnabling Confusion\u00ab<\/p>\n
\n Chair: Graham Clarke, University of Kent<\/span><\/p>\n
\n\u00bbThe Lost Talbot \u2013 Thoughts Towards Retrieving a Legacy\u00ab<\/strong><\/p>\n
\n\u00bbTalbot and the Conception of Contemporaneity\u00ab<\/strong><\/p>\n
\n\u00bbTalbot as Artist\u00ab<\/strong><\/p>\n
\n\u00bbA Philosophical Window\u00ab<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"