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= Wendy Hui Kyong Chun = From Wikipedia, the free encyclopedia

Wendy Hui Kyong Chun is a media theorist and digital humanities scholar, as well as a professor of Modern Culture and Media, Professor of History of Art and Architecture, and Chair of Modern Culture and Media at Brown University. Chun has published several monographs including Programmed Visions: Software and Memory, Control and Freedom: Power and Paranoia in the Age of Fiber Optics, and the upcoming Updating to Remain the Same: Habitual New Media, as well as numerous peer-reviewed articles.

Contents
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 * 1Theories
 * 2Bibliography (selected)
 * 2.1Books
 * 2.2Essays and speeches
 * 3See also
 * 4References
 * 5External links

Theories
Maybe best known part of Terranova's work is her thesis, formulated in the early 2000s,[6] that the free labor of users is the source of economic value in the digital economy.[7] Free labor as a concept is rooted in Italian post-workerist and autonomist labor theories of value, such as Paolo Virno's re-reading of Marx's notion of the general intellect, Antonio Negri's theory of the social factory, and Maurizio Lazzarato's concept of immaterial labor. Free labor is free both in the sense that the laborers provide it voluntarily and in the sense that they are not remunerated by the beneficiaries of the labor (such as social media companies). As such, free labor is only the most extreme form of social labor receiving very little or no monetary compensation. For instance, Terranova describes the university as a 'diffuse factory': 'an open system opening onto the larger field of casualised and underpaid ‘socialised labour power’.'[8] Terranova has also argued that non-hierarchical, open access, free association, and non-monetary P2P networks may provide a form of markets compatible with anarcho-communism.

Books[edit source | edit]

 * New Media, Old Media: A History and Theory Reader, Routeledge, 1st edition (

Published Articles

 * “Imaginando nómadas.” Nomadismos Tecnológicos. In English, Portuguese, and Spanish. Eds, Jorge La Ferla and Giselle Beiguelman (Espacio Fundación Telefónica/Instituto Sergio Motta, Buenos Aires, forthcoming 2010).
 * "Control y libertad," "La renovación de los nuevos medios," and "Medios demoníacos." Arte, ciencia y tecnología. Un panorama crítico. Ed. Jorge La Ferla (Espacio Fundación Telefónica 2010).
 * “On Sourcery and Daemons, or Code as Fetish.” Configurations: the Journal of the Society for Literature, Science, and the Arts 16 (forthcoming 2008):299-324.To be reprinted in Gazing into the 21st Century. Ed. Oliver Grau (forthcoming MIT 2010).
 * “Imagined Networks: Race, Digital Media and the University.”  In English, Chinese, Japanese, and Korean. Traces 5: Universities in Translation: The Mental Labor of Globalization.  Traces: A Multilingual Series of Translation and Cultural Theory ( 2010).
 * “Race and/as Technology, or How to do Things with Race.” special issue of Camera Obscura on Race as Technology 24 (2009): 7-35. Revised version to be reprinted in Digital Race Anthology, Eds. Lisa Nakamura and Peter Chow-White (forthcoming Routledge).
 * “The Enduring Ephemeral, or the Future is a Memory.”Critical Inquiry 35:1 (2008):148-171. Reprinted in Place Studies in Art, Media, Science and Technology: Historical Investigations on the Sites and the Migration of Knowledge. Eds. Andreas Broeckmann and Gunalan Nadarajan (Berlin: Verlag und Datenbank fur Geisteswissenschaften, 2009. To be reprinted in Archaeologies of Media. Eds. Jussi Parikka and Erkki  Huhtamo (forthcoming University of California 2010)
 * "Digital Media, History of" International Encyclopedia of Communication (Blackwell, 2008).
 * "Programmability."Software Studies. Ed. Matthew Fuller (MIT Press, 2008).
 * “Programmed Visions,” Vectors: Journal of Culture and Technology in a Dynamic Vernacular  3:1 (2007).
 * "Control and Freedom: Software and Causal Pleasure / Controle et liberte: logiciel et plaisir causal"Art Oriented Programming / Programmation Orientee Art. in French and English. Ed. David-Olivier Lartigaud (HYX Editions, forthcoming 2007).
 * "On Software, or the Persistence of Visual Knowledge" Grey Room 18 (winter 2005): 26-51.
 * "Did Someone Say New Media?" New Media, Old Media. (New York: Routledge, 2005), 1-10.
 * Control and Freedom: On Interactivity as a Software Effect." 2004 Proceedings of the International Society of Electronic Arts.
 * "Human-Mediated-Communications." Reality/Simulacra/Artificial: Ontologies of Postmodernity. Ed. Enrique Larreta. in English and Portuguese (Rio de Janeiro: Universidade Candido Mendes, 2003).
 * "Orienting Orientalism, or How to Map Cyberspace." Asian American.net, eds. Rachel Lee and Sau-ling Wong (Routledge 2003), 3-36.
 * "Othering Space" Visual Culture Reader 2.0. ed. Nick Mirzeoff (Routledge, 2003), 241-254.
 * "Scenes of Empowerment: Virtual Racial Diversity and Digital Divides" (New Formations special issue on "Race and/or Nation" 45, winter 2001): 169-188.
 * "Unbearable Witness:  Towards a Politics of Listening." differences:  a journal of feminist cultural studies (11.1 Spring 1999): 112-149. A revised and abridged version reprinted in Extremities. Ed. Nancy K. Miller and Jason Tougaw (Urbana: Illinois UP 2002), 143-165. An early draft published as "A Case of Mistake[s i]n Identity: Bearing Witness to the Montreal Massacre." Critical Matrix: The Princeton Journal of Women, Gender, and Culture 9.2 (1995): 117-140.