By Wendy Hui Kyong Chun
How has the net, a medium that prospers on keep an eye on, been authorized as a medium of freedom? Why is freedom more and more indistinguishable from paranoid keep watch over? up to speed and Freedom, Wendy Hui Kyong Chun explores the present political and technological coupling of freedom with keep an eye on via tracing the emergence of the web as a mass medium. The parallel (and paranoid) myths of the net as overall freedom/total regulate, she says, stem from our aid of political difficulties into technological ones.Drawing at the theories of Gilles Deleuze and Michel Foucault and interpreting such phenomena as Webcams and face-recognition know-how, Chun argues that the connection among keep watch over and freedom in networked touch is skilled and negotiated via sexuality and race. She lines the need for our on-line world to cyberpunk fiction and maps the transformation of public/private into open/closed. reading "pornocracy," she contends that it was once via cyberporn and the government's makes an attempt to manage it that the net turned a industry of principles and commodities. Chun describes the way in which net promoters conflated technological empowerment with racial empowerment and, via shut examinations of William Gibson's Neuromancer and Mamoru Oshii's Ghost within the Shell, she analyzes the administration of interactivity in narratives of cyberspace.The Internet's power for democracy stems now not from illusory offers of person empowerment, Chun argues, yet really from the ways that it exposes us to others (and to different machines) in methods we can't regulate. utilizing fiber optic networks -- gentle coursing via glass tubes -- as metaphor and fact, regulate and Freedom engages the wealthy philosophical culture of sunshine as a determine for wisdom, explanation, surveillance, and self-discipline, for you to argue that fiber-optic networks bodily instantiate, and hence shatter, enlightenment.
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Extra resources for Control and Freedom: Power and Paranoia in the Age of Fiber Optics
To most curators, public art is not art made or owned by the public but rather art that can be readily seen by the public—art on large television screens in Times Square or on the outside of San Francisco’s Mosconi Center, or art located inside glass-enclosed private buildings that can be seen from the outside. Transparency becomes key. 5. ’’ Whenever the packet ‘‘dies,’’ the router at which the packet expired sends a message to the originating machine. Since packets can take different routes through the network, this is not entirely reliable.
3 (1997): 77–89. 36. ‘‘Chapter One: Virtualities’’ in Margaret Morse, Virtualities: Television, Media Art, and Cyberculture (Bloomington: Indiana University Press, 1998), 3–35. 37 Even when ‘‘lurking,’’ you constantly send information. It is impossible to resist subjectivity by doing nothing (as Baudrillard once argued and encouraged) if we jack in or are jacked in. Software and ideology seem to ﬁt each other perfectly because both try to map the material effects of the immaterial and posit the immaterial through visible cues.
38. Again, Lev Manovich’s groundbreaking, insightful, and important work, The Language of New Media, in its move toward computer science terminology and its call for a move from media theory to software theory (48), perpetuates the dominance of software. 39. Eben Moglen, ‘‘Anarchism Triumphant: Free Software and the Death of Copyright,’’ First Monday 4, no. htmli (accessed May 1, 2004). individuals-cum-hackers (this is the libertarian message of The Matrix). As well, this analysis reveals the many slippages between software, interface, and extramedial representation that must happen in order for software to gain such power.
Control and Freedom: Power and Paranoia in the Age of Fiber Optics by Wendy Hui Kyong Chun