Arabella Goddard, pianist, by T. R. Williams, c.1857. Stereo daguerreotype. Brian May Collection.

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Early bird submission deadline: january 29, 2018

Sabine Breitsameter

Sabine Breitsameter teaches and researches sound and media culture at the Darmstadt University of Applied Sciences, where she has been a professor since 2006. She is the founder and the director of the International Media Cultural Work MA program there, and the head of the Soundscape- & Environmental Media Lab, a place for experimenting with 3D Audio and Fulldome Media. From 2004 to 2008 she taught experimental audio media as a visiting professor at the Berlin University of the Arts, where she cofounded the Sound Studies MA program. From the mid-1980s until today, Breitsameter worked as an author, director and dramaturge mainly in experimental and/or cultural radio for the German ARD, the EBU, the NPR (USA),  and Radio Canada.

Areas of research: Electroacoustic art forms, auditory culture, acoustic and media ecology, experimental radio, media history. Professional practice: Author, director, dramaturge, etc. for the German ARD network since 1984. Academic and artistic director of many symposiums and festivals, including Ganz Ohr: Symposium über das Zuhören (Kassel, 1997 , concurrent with Documenta X), Trans_Canada (ZKM Karlsruhe, 2004), The Global Composition: Conference on Sound, Media and the Environment (Darmstadt, 2012), and Disseminations: Media Cultural Practices for the Digital Age (Darmstadt, 2016). Numerous publications, lectures, and workshops in Germany and abroad, including R. Murray Schafer, Die Ordnung der Klänge (edited, translated, and wrote introduction).

Michael Pritchard

Dr Michael Pritchard FRPS became interested in photography and photographic history when he was 11 years old and has been active in the field ever since. After university, he joined Christie’s as a photography specialist in 1986 organising specialist auctions and handling many rare cameras and photographs. He left in 2007 to start a PhD which examined the growth of British photographic manufacturing and retailing between 1839 and 1914. On completion in 2010 he taught on De Montfort University’s MA History of Photography programme photography and industry module and worked for the British Library on organising the Kodak Historical Collection. He joined the Royal Photographic Society as Chief Executive in 2011. Michael has lectured and broadcast internationally on many different aspects of photographic history and has authored a number of books on the history of the camera and photography, most recently A history of photography in 50 Cameras (Bloomsbury 2015).  He runs the British Photographic History blog ( www.britishphotohistory.ning.com) in his spare time.

Denis Pellerin

Denis Pellerin is a photo-historian with a passion for stereo photography. He has been researching and learning about the history of stereo photography for over 30 years and has written several articles and books on the subject, both in French and in English.

During his thirtieth year as a secondary school teacher, Denis had the good fortune to meet and work with Dr. Brian May before being hired by the latter as the curator of his extensive photographic collection.

Brian May and Denis Pellerin have now co-authored three books together (Diableries: Stereoscopic Adventures in Hell, 2013, The Poor Man’s Picture Gallery, 2014, Crinoline: Fashion’s Most Magnificent Disaster, 2016) and are currently working on a couple more publications while being also deeply involved in the various activities of The London Stereoscopic Society, re-created by Brian May in 2008.

Since September 2015 Pellerin has been the director of the said company whose original motto, “No home without a stereoscope”, is more than ever valid.

Kim Timby

Kim Timby is an independent photography historian based in Paris, where she teaches at the École du Louvre and works as a curator for a private collection specialized in nineteenth-century travel photography. She previously worked in museums, where she curated exhibitions including “Paris in 3D” (2000).

Her research explores the cultural history of photographic technologies. She is interested in what motivates the elaboration of specific forms of photography and in the social, artistic and scientific practices that structure their reception and development. She has published widely on these topics, including the book 3D and Animated Lenticular Photography: Between Utopia and Entertainment (De Gruyter, 2015) and articles and chapters on color in photography.

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