## NOTE ON CONTRIBUTORS

Linda Dalrymple Henderson is the David Bruton, Jr. Centennial Professor  in  Art  History  at  the  University  of  Texas  at  Austin. In  addition  to  various  essays,  she  is  the  author  of The Fourth Dimension and Non-Euclidean Geometry in Modern Art (Princeton, 1983; new ed., MIT Press, 2013) and Duchamp in Context: Science and Technology in the Large Glass and Related Works (Princeton, 1998). She co-edited the anthology From Energy to Information: Representation  in  Science  and  Technology ,  Art,  and  Literature (Stanford, 2002). She is currently at work on a book titled 'The Energies of Modernism: Art, Science, and Occultism in the Early 20th Century.'

Dieter  Daniels  is  Professor  of  Art  History  and  Media  Theory at  the  Academy  of  Visual  Arts  (HGB)  in  Leipzig.  His  book publications  include: Duchamp und die anderen: Der Modellfall einer  künstlerischen  Wirkungsgeschichte  in  der  Moderne (1992), Vom Ready-Made zum Cyberspace (2003), Audiovisuology , Vol. 1 & 2 (2010/11), Sounds like Silence. John Cage-4' 33''-Silence today (2012) and TeleGen, Art and Television (2015). He has curated the International Symposium The Readymade Century at HKW, Haus der Kulturen der Welt, Berlin, 2017 . Currently he is Fellow at the Gutenberg  Research  College  (Johannes  Gutenberg  University  | Mainz Academy of Arts) working on a Transdisciplinary Video Theory Reader .

Thierry  de  Duve  is  Evelyn  Kranes  Kossak  Professor  at  Hunter College, City University of New York. As an historian and theorist of  contemporary  art  de  Duve's  work  has  long  revolved  around Marcel Duchamp's readymade and its implications for aesthetics. His publications in English include Pictorial  Nominalism (University of Minnesota Press, 1991), Kant after Duchamp (MIT Press, 1996), Clement Greenberg Between the Lines (Dis-Voir, Paris, 1996), Look, 100 Years of Contemporary Art (Ludion, 2001), and Aesthetics at Large: Art, Ethics, Politics (University  of  Chicago Press,  forthcoming  2019).  His Essais  datés were  published  in French by Mamco in Geneva 2014-16.

Thomas Girst is Honorary Professor at the Academy of Fine Arts, Munich. He is global head of BMW Group's cultural engagement and in 2016 was awarded 'European Cultural Manager of the Year.' He was editor in chief of Tout-Fait: The Marcel Duchamp Studies Online Journal from 1999-2003 and co-curated 'Marcel Duchamp in Munich, 1912' at the Lenbachhaus in 2012. His most recent books on Marcel Duchamp include The Indefinite Duchamp (2013) and The Duchamp Dictionary (2014).

David Joselit is Distinguished Professor in the Art History PhD Program  at  the  CUNY  Graduate  Center.  He  has  taught  at  the University  of  California,  Irvine,  and  Yale.  Joselit  is  author  of Infinite Regress: Marcel Duchamp 1910-1941 (MIT , 1998), American Art Since 1945 (Thames and Hudson, 2003), Feedback: Television Against Democracy (MIT , 2007), and After Art (Princeton University Press, 2012). He is an editor of the journal OCTOBER and writes regularly on contemporary art and culture. His new book Heritage and Debt: Art in Globalizati on is forthcoming as an October Book from MIT Press in Spring 2020.

Sarah  Kolb  is  an  art  theorist  and  university  assistant  at  the Department of Art History and Art Theory at the University of Art  and  Design  in  Linz.  With  her  PhD  project  on  Bergson  and Duchamp  (2016)  she  was  fellow  at  the  International  Research Centre  for  Cultural  Studies  in  Vienna,  at  the  Research  Centre 'Media  and  Cultural  Communication' in  Cologne,  and  at  the Duchamp Research Centre in Schwerin. Currently she is working on a project on Roger Caillois's 'Diagonal Sciences' and planning a project on 'Topological Operations in Art and Art Theory.' Her recent publications include Painting at the Service of Metaphysics (Schwerin: Schwerin State Museum, 2015) and two major edited volumes on Roger Caillois entitled Logik des Imaginären (Berlin: August Verlag, 2018 and 2019).

Jacob  Wamberg  is  Professor  of  Art  History,  dr.phil.,  at  the University of Aarhus. He works on an evolutionistic theory of the visual  arts,  especially  in  relation  to  world-making,  technology and biosemiotics. He is the author of Landscape as World Picture: Tracing Cultural Evolution in Images (2009 [2005], two vols.), and he has edited the anthologies Art & Alchemy (2006), Totalitarian Art and Modernity (2010, with Mikkel Bolt Rasmussen), The Posthuman Condition:  Ethics,  Aesthetics  and  Politics  of  Biotechnological Challenges (2012,  with  Kasper  Lippert-Rasmussen  and  Mads Rosendahl Thomsen), and Art, Technology and Nature: Renaissance to Postmodernity (2015, with Camilla Skovbjerg Paldam).