Victor Burgin is Professor Emeritus of History of Consciousness at the University of California, Santa Cruz; and Emeritus Millard Chair of Fine Art at Goldsmiths College, University of London. Burgin’s books include Parallel Texts: interviews and interventions about art (Reaktion, 2011), Situational Aesthetics (Leuven University Press, 2009), The Remembered Film (Reaktion, 2004), In/Different Spaces: place and memory in visual culture (University of California Press, 1996), Some Cities (Reaktion, 1996), The End of Art Theory: criticism and postmodernity (Macmillan, 1986), and the edited collections Formations of Fantasy (Methuen, 1986) and Thinking Photography (Macmillan, 1982). Monographs devoted to his visual work include Five Pieces for Projection (Museum für Gegenwartskunst Siegen, 2014), Components of a Practice (Skira, 2008), Victor Burgin: Objets Temporels (Presses Universitaires de Rennes, 2007), Victor Burgin (Fundació Antoni Tàpies, Barcelona, 2001), Shadowed (Architectural Association, London, 2000) and Between (Blackwell/ICA, 1986). Two collections of essays on his work are currently in press: Projective (Mamco, Geneva, 2014), and Palmanova (éditions Form[e]s, Paris, 2014), as well as a volume of his scripts for his projection works, The writing on the wall (Mamco, Geneva, 2015).

Burgin studied painting at the Royal College of Art, London (A.R.C.A., 1965) and continued his studies at Yale University (M.F.A., 1967). In 2005 he received the Honorary Degree of Doctor of Sheffield Hallam University, and in 2010 was made Doctorat Honoris Causa at the Université de Liège. In 1976-77 Burgin was a US/UK Bicentennial Arts Exchange Fellow, in New York, and from 1978-79 he held a Deutscher Akademischer Austauschdienst (DAAD) Fellowship, in Berlin. Amongst other visiting positions worldwide, Burgin has been Josep Lluis Sert Practitioner in the Arts, Carpenter Center for the Visual Arts, Harvard University (2007); Robert Gwathmey Chair in Art and Architecture, The Cooper Union for the Advancement of Science and Art, New York (2000); and artist-in-residence at such institutions as the Soros Foundation Center for Culture and Communication, Budapest, Hungary (1997) and I.ME.RE.C (Institut Méditerranéen de Recherche et de Création), Marseille, France (1993). Burgin’s still and moving image work is represented in such public collections as The Metropolitan Museum and the Museum of Modern Art, New York; the Corcoran Gallery, Washington DC; Museum of Contemporary Art and LA County Museum of Art, Los Angeles; The Walker Art Center, Minneapolis; The Tate Gallery, Tate Modern, and Victoria and Albert Museum, London; and the Centre Georges Pompidou, Paris. Burgin’s current theoretical preoccupations are summarized in the title of his essay ‘The Location of Virtual Experience,’ in Annette Khun (ed.), Little Madnesses: essays on D.W.Winnicott (I.B.Tauris, 2013).

D.N. Rodowick is Glen A. Lloyd Distinguished Service Professor in Cinema and Media Studies, Visual Arts and the College at the University of Chicago.  He is the author of numerous essays as well as seven books: Elegy for Theory (Harvard University Press, 2014); Philosophy’s Artful Conversation (Harvard University Press, 2014); The Virtual Life of Film (Harvard University Press, 2007); Reading the Figural, or, Philosophy after the New Media (Duke University Press, 2001); Gilles Deleuze's Time Machine (Duke University Press, 1997); The Difficulty of Difference: Psychoanalysis, Sexual Difference, and Film Theory (Routledge, 1991); and The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Theory (University of Illinois Press, 1989; 2nd edition, University of California Press, 1994). His edited collection, Afterimages of Gilles Deleuze's Film Philosophy, was published by University of Minnesota Press in 2009.  Rodowick's essay, "An Elegy for Theory," received the Katherine Singer Kovacs Essay Award from the Society for Cinema and Media Studies in 2009. 

Having taught at Yale University until 1991, Rodowick began the film studies program there. After studying cinema and comparative literature at the University of Texas, Austin, and Université de Paris 3, he obtained a PhD. at the University of Iowa in 1983. Rodowick subsequently taught at the University of Rochester and at King's College, University of London, where he founded the Department of Film Studies and the Film Study Centre. Before coming to the University of Chicago, he was William R. Kenan, Jr. Professor of Visual and Environmental Studies and Director of the Carpenter Center for Visual Arts at Harvard University, where he also helped create a new PhD. program in Film and Visual Studies. Special research interests include aesthetics and the philosophy of art, the history of film theory, philosophical approaches to contemporary art and culture, and the impact of new technologies on contemporary society. Among other honors, he has also been a fellow of a Fellow at the Society of Fellows at Cornell University and a Senior Fellow at the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie at the Bauhaus-Universität in Weimar, Germany.  In 2002, he was named an Academy Film Scholar by the Academy of Motion Picture Arts and Sciences. Rodowick is also a curator, and an award-winning experimental filmmaker and video artist.