Notes on Contributors

Dwayne Dixon is a Ph.D. candidate in the Department of Cultural Anthropology at Duke University where he is completing his dissertation on young people in Tokyo and their relations to urban space, changing economic conditions, and visual technologies.

Mark Driscoll is an Associate Professor of East Asian Studies at the University of Carolina, Chapel Hill. He is the author of two books on East Asian cultural and intellectual history published with Duke University Press, and has published articles in Social Text, Cultural Studies, and Postcolonial Studies.

Alexander García Düttmann is Professor of Philosophy and Visual Culture at Goldsmiths (University of London). His most recent publications include: Philosophy of Exaggeration (Continuum 2008), Visconti: Insights into Flesh and Blood (Stanford 2009), Derrida and I: The Problem of Deconstruction (Transkript Verlag 2009), and Participation: Conscience of Semblance (Konstanz University Press 2011).

Daniel Herbert is an assistant professor in Screen Arts and Cultures at the University of Michigan. His research is devoted to understanding the relationships between media industries, geography, and cultural identities. His essays appear in several collections and journals, including Film Quarterly, Millennium Film Journal, and Quarterly Review of Film and Video.

Jan Mieszkowski is Professor of German and Humanities at Reed College. He is the author of Labors of Imagination: Aesthetics and Political Economy from Kant to Althusser (Fordham University Press, 2006) and of the forthcoming Watching War (Stanford University Press, 2012). He has published widely on European and American literature since Romanticism, German philosophy, and critical theory.

Arkady Plotnitsky is a professor of English and Theory and Cultural Studies at Purdue University, where he is also a director of the Theory and Cultural Studies Program. He has published on the philosophy of physics and mathematics, continental philosophy, British and European Romanticism, Modernism, and the relationships among literature, philosophy, and science. His most recent books are Epistemology and Probability: Bohr, Heisenberg, Schrödinger and the Nature of Quantum-Theoretical Thinking (2009), Reading Bohr: Physics and Philosophy (2006), and a co-edited (with Tilottama Rajan) collection of essays Idealism Without Absolute: Philosophy and Romantic Culture (2004). His next book, Niels Bohr and Complementarity, is scheduled to appear in 2012.

Scott C. Richmond is Assistant Professor in Film and Media Studies at the Department of English at Wayne State University. He is the author of “‘Dude, That’s Just Wrong’: Mimesis, Identification, Jackass,” forthcoming in World Picture. He is currently at work on a book manuscript on film theory entitled Resonant Perception: Cinema, Phenomenology, Illusion.

Chloë Taylor is Assistant Professor of Philosophy and Women’s Studies at the University of Alberta. She has a Ph.D. from the University of Toronto and was a Social Science and Research Council of Canada and Tomlinson postdoctoral fellow at McGill University. Her research interests include twentieth-century French philosophy, philosophy of sexuality, feminist philosophy, philosophy of food and animal ethics. She is the author of The Culture of Confession from Augustine to Foucault (Routledge 2009) and is an editor of the journal Foucault Studies. She is currently working on two book projects, one concerning Foucault, feminism, and sexual crime, and the other concerning Foucault, animal ethics, and the philosophy of food.

Hong-An Truong is an Assistant Professor of Studio Art at the University of North Carolina, Chapel Hill. Her photographs and videos have been shown at numerous venues including the Godwin-Ternbach Museum in Queens, the Los Angeles County Museum of Art, Laguna Art Museum, Torrance Art Museum, Monte Vista Projects in Los Angeles, DobaeBacsa Gallery in Seoul, PAVILION in Bucharest, Art in General, and the International Center for Photography, both in New York. She is currently working on a video installation on memory and war violence that focuses on the life of writer Iris Chang.