Works in Progress
"My Dark Room"
Taking the camera obscura as its conceptual model, this monograph tells the story of how eighteenth-century English subjects created inner worlds for themselves with the material features and designs of interior spaces in everyday life. For more about the project, go here.
This monograph examines how embodied acts of inscription and their materials were experienced and understood as interconnected channels of thinking, creating and record making for writers of the long eighteenth century and beyond. Individual chapters will deal with memory and tombstone graffiti, the interface between manuscript and print, walking as a form of inscription, and the tensions between writing as a process of creativity on one hand and record-making on the other
This book project investigates the materials and aesthetic standards used to create the semblance of life across different media throughout cultural history, from the early modern period and eighteenth century to the contemporary moment. How have human beings throughout the history of modernity attempted to imitate, record and replicate the experience of being alive as embodied subjects in a material world? How might such information be accessed and how was it consciously preserved in daily acts of archiving one’s own life? Like Life is organized around five major attributes and techniques of life-likeness in visual, archival and narrative experiences: transparency, depth, point of view, preservation and projection.
"Organic Supplements: Bodies, Objects and the Natural World, 1580-1750," under contract, University of Virginia Press
Co-edited with Miriam Jacobson, "Organic Supplements" is an interdisciplinary collection of essays on the intimate bonds between living, organic things of the natural world and the human beings who wore, used and lived with them throughout the early modern period and eighteenth century.
“Getting Perspective,” guest edited special issue of Word and Image
An interdisciplinary collection of articles on the role of perspective in the visual forms of different historical periods and media, and their relationship with texts. Article subjects range from Renaissance architectural plans and eighteenth-century optical devices to postwar German monuments and the drone warfare aerial imagery archive. Contributors represent the fields of architectural history, art history, literary studies, visual art, and new media.
“Stories Told in the Camera Obscura: Zoe Leonard’s Archival Projections,” under review at peer-reviewed journal.
“‘Everything We See is Seen in Perspective’: Narratives of the Zograscope in the Eighteenth Century,” special issue of Word and Image, guest edited by Julie Park.
“Making the Automaton Speak: Hearing Voices in the Eighteenth Century,” AI Narratives, edited by Sarah Dillon, Kanta Dihal, Stephen Cave, under contract with Oxford University Press.
“Facing the Dummy in Eighteenth-Century Aesthetic Discourse,” The Routledge Handbook of Dehumanization, edited by Maria Kronfeldner, under contract with Routledge.
“Cottage Dreams and Desires,” Home is Where the Start Is: Interrogating Eighteenth-Century Domesticity, edited by Karen Lipsedge and Stephen Hague, under contract at Routledge.
“Andrew Marvell’s Archival Traces,” special issue of Marvell Studies, guest edited by Diane Purkiss.