MemberBrian Croxall

I’m Assistant Research Professor of Digital Humanities in Brigham Young University’s Office of Digital Humanities. I imagine, design, and manage digital scholarship projects in collaboration with faculty, colleagues, and students. I also teach classes in our Digital Humanities and Technology minor. I’m passionate about integrating digital approaches into pedagogy. Prior to coming to BYU, I worked at the Centers for Digital Scholarship at both Brown University and Emory University. I was Digital Humanities Librarian at Brown and Digital Humanities Strategist and Lecturer of English at Emory. At both schools, I managed large, multi-year, grant-funded projects in collaboration with faculty, librarians, graduate students, and other staff. These projects included the digitization of previously classified documents about Brazil / US relations; a digital edition of and edited collection about a 17th-century book of alchemy; the paved-over landscape and history of the Battle of Atlanta; the literary networks of writers in Northern Ireland; and the relationship among poets and editors in mid-century modern American poetry. I completed my Ph.D. at Emory University, investigating the relationships among technology, media, and psychological trauma. After that, I taught modern and contemporary American literature as well as courses on media studies, digital culture, and war fiction for a year at Emory and another year at Clemson University. I then became Emory’s first CLIR Postdoctoral Fellow and Emerging Technologies Librarian. Somewhere in there, I co-edited both a book and a journal issue on steampunk, edited a cluster at #Alt-Academy, and wrote for the group blog ProfHacker. I am the elected Secretary of the international Alliance of Digital Humanities Organizations, an elected member of the Modern Language Association‘s Delegate Assembly, and an appointed member of the MLA’s Program Committee. I am a past member of the Executive Councils of the MLA and the Association for Computers and the Humanities. I use Twitter on occasion and track my publications with ORCID.

MemberJonathan Potter

·         ‘“A Box From Another Time”: Reading Steampunk Objects’, Journal of Victorian Culture Online, 7 April 2015: 
·  …

Jonathan Potter specialises in the intersections between nineteenth-century visual, print, and technological cultures. He currently teaches academic skills and researches Victorian literature at Birmingham City University in the UK. He won the 2019 Mary Eliza Root prize from the Victorian Popular Fiction Association and his first book, Discourses of Vision in Nineteenth-Century Britain: Seeing, Thinking, Writing, was published at the end of 2018. Reviews for Discourses of Vision in Nineteenth-Century Britain:

  • Discourses of Vision examines a range of technologies, including the panorama, magic lantern, and stereoscopes, as well as experiences such as balloon travel and more abstract concepts such as understandings of political, personal and biological networks. It is an eclectic, and one might even say brave mix, and for the most part it works extremely well. […] Discourses of Vision is destined to become an oft-cited text because it fills a gap in the phenomenology of visual experience, and because of Potter’s commendable and original attention to the particularities and nuances of Victorian visual technologies.” (Owen Clayton, Journal of Victorian Culture, February 28, 2020)
  • “In Discourses of Vision in Nineteenth-Century Britain: Seeing, Thinking, Writing, Jonathan Potter’s ambitious remit is how visual technologies shaped not only ways of seeing and thinking, but also the shape of literature itself. This is a smart, fully packed book […]” (Pamela K. Gilbert, SEL Studies in English Literature 1500-1900, Vol. 59 (4), 2019)
  • “Potter is consistently attentive to the transitions from the pictorial to the textual, the cognitive gaps between the titular triad: seeing, thinking, writing. […] On the whole, Potter’s book offers valuable insights through its extensive exploration of the relations between mind, perception, and the technological imagination.” (Patrick Armstrong, The British Society for Literature and Science, October 22, 2019)
  • “The scope of this project is vast, and Potter’s ability to synthesise its diversity of ideas into a coherent and compelling narrative is impressive. His bibliography is extensive and will prove of equal value to historians of visual media and those of Victorian culture. Most significantly, the book’s discursive, pluralistic drive has prepared a fertile base from which similar-minded enquiries into the interactions between visual technology and thought can flourish – in studies of nineteenth-century Britain and beyond.” (Thomas Haynes, Early Popular Visual Culture, October 4, 2019)