Timothy Murray is Professor of Comparative Literature and English and Curator of the Rose Goldsen Archive of New Media Art in the Cornell Library. A curator of new media and contemporary art, and theorist of visual studies and digital culture, he has been forging international intersections in exhibition and print between the arts, humanities, and technology for over twenty-five years.

In addition to programming innovative series in video and cinema, he has been at the curatorial forefront of international exhibitions in digital and conceptual art. He staged the largest international exhibition of digital art created for CD-Rom, “Contact Zones: The Art of CD-Rom” (contactzones.cit.cornell.edu), which toured from 1999-2004 in the US, Canada, Mexico, France, with offshoots in Macau and Johannesburg. With Arthur and Marilouise Kroker, he curated and designed the conceptual internet art journal, “CTHEORY Multimedia” (ctheorymultimedia.cornell.edu), and, with Teo Spiller, he staged the first off-line internet art exhibition at INFOS 2000 in Slovenia. Most recently, he collaborated with Sarah Watson and Sherry Miller Hocking on “The Experimental Television Center: A History, ETC” at Hunter College Galleries in New York City and he curated “Signal to Code: 50 Years of Media Art in the Goldsen Archive” (rmc.library.cornell.edu/signaltocode) in the Cornell Library and the Herbert F. Johnson Museum of Art. He founded the Rose Goldsen Archive in 2002, which since has grown into a leading international repository of electronic and digital art.  He serves as co-moderator of the -empyre- new media listserv.

At Cornell, he was one of the founders of the cross-college undergraduate minor in Visual Studies and the graduate minor in Film and Video before serving as Director of the Society for the Humanities from 2008-2017. He currently is Co-PI of Cornell Mellon Studies in Architecture, Urbanism, and the Humanities. A national advocate for intersections between the arts and humanities, he serves on the Executive Committee of HASTAC and the Boards of Directors of the National Humanities Alliance and Humanities New York. Internationally, he is a Hai-Tian (Sea-Sky) Scholar, Dalian University of Technology, Dalian, China, and a Senior Fellow of the School of Criticism and Theory.

A recipient of fellowships and grants from NEA, NEH, Mellon, Rockefeller, Fulbright, and Korea National Research Foundation, Murray is currently working on a book, Archival Events @ New Media Art, which is a sequel to Digital Baroque: New Media Art and Cinematic Folds (Minnesota, 2008).  Among his publications are the books Medium Philosophicum: Thinking Art Technologically (Universidad de Murcia, forthcoming, 2017), Zonas de Contacto: el arte en CD-Rom (Centro de la Imagen, 1999), Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art (Routledge, 1997), Like a Film: Ideological Fantasy on Screen, Camera, and Canvas (Routledge, 1993), Theatrical Legitimation: Allegories of Genius In XVIIth-Century England and France (Oxford, 1987), ed. with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture (Minnesota, 1998), ed., Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Thought (Michigan, 1997), ed. Xu Bing’s Background Story and his Oeuvre (Mandarin), co-edited with Yang Shin-Yi (Beijing: Life Bookstore Publishing, 2016), and ed. with Irving Goh of The Prepositional Senses of Jean-Luc Nancy, 2 Vols., diacritics (2014-16).