scr | 08 Feb 2010
Wendy Hui Kyong Chun is Associate Professor of Modern Culture and Media at Brown University. She is the co-editor of New Media, Old Media: A History and Theory Reader and a special issue of Camera Obscura (2009). She is the author of Control and Freedom: Power and Paranoia in the Age of Fiber Optics (2006) and of the forthcoming Programmed Visions: Software and Memory (2010).
Alexander R. Galloway is Associate Professor of Media, Culture, and Communication at New York University and cofounder of RSG (Radical Software Group). He is the author of Protocol: How Control Exists after Decentralization (2004), Gaming: Essays on Algorithmic Culture (2006), The Exploit: A Theory of Networks (2007, with Eugene Thacker), and an upcoming translation of writings by the neo-situationist group Tiqqun.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor of Cinema and Media Studies, Art History, and the College at the University of Chicago. He has published numerous pioneering studies on early cinema and pre-cinematic media, as well as D. W. Griffith and the Origins of American Narrative Film (1991) and The Films of Fritz Lang: Allegories of Vision and Modernity (2000). He is currently a fellow at the Getty Institute; his new project concerns the poetics of the moving image.
Mark B. N. Hansen is Professor of Literature, Information Science + Studies, and Arts of the Moving Image at Duke University. He is the author of New Philosophy for New Media (2004) and Bodies in Code: Interfaces with Digital Media (2006).
Gertrud Koch is Professor of Cinema Studies at the Free University Berlin, Germany. She has published widely on film and aesthetic theory, feminist film theory, Holocaust representation, and the Frankfurt School. English translations of her work include Siegfried Kracauer: An Introduction (2005) and articles in October, New German Critique, and other journals. She is working on a book on the aesthetics of illusion in film and the other arts.
Lutz Koepnick is Professor of German, Film and Media Studies at Washington University in St. Louis. Book publications include: Framing Attention: Windows on Modern German Culture (2007); The Dark Mirror: German Cinema between Hitler and Hollywood (2002); and Walter Benjamin and the Aesthetics of Power (1999). Co-edited or co-authored volumes include: After the Digital Divide? German Aesthetic Theory in the Age of New Media (2009); Window | Interface (2007); The Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present (2007); and Sound Matters: Essays on the Acoustics of German Culture (2004).
Thomas Y. Levin is Associate Professor of German at Princeton University. He is the editor of CTRL [Space]: Rhetorics of Surveillance from Bentham to Big Brother, the catalogue of a major exhibition he curated at the ZKM in Karlsruhe in 2001. The author of a number of books on the work of Siegfried Kracauer, including the translation of Kracauer’s Mass Ornament: Weimar Writings (1995), Levin has also curated exhibitions and published extensively on the work of the Situationist International. Most recently he co-edited Walter Benjamin’s Work of Art in the Age of its Technological Reproducibility, and Other Writings on Media (2008).
Daniel Morgan is Assistant Professor of Film Studies and English at the University of Pittsburgh. He has published articles on Bazin, Godard, Jean Rouch and questions of documentary and is the author of the forthcoming book “A Feeling of Light”: Cinema, Aesthetics, and the Films of Jean-Luc Godard at the End of the 20th Century.
Lisa Parks is Professor and Chair of Film and Media Studies at the University of California, Santa Barbara. She is the author of Cultures in Orbit: Satellites and the Televisual (2005) and the forthcoming books Mixed Signals: Media Infrastructures and Cultural Geographies and Coverage: Media and Security after 911. She has co-edited Planet TV: A Global Television Reader (2003) and Undead TV (2007).
D. N. Rodowick is Professor of Visual and Environmental Studies and Director of Graduate Studies of Film and Visual Studies at Harvard University. He is the author of The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Criticism (1995), Gilles Deleuze’s Time Machine (1997), Reading the Figural, or Philosophy after the New Media (2001), and The Virtual Life of Film (2007).
Jason Salavon is Assistant Professor of Visual Arts and the Computation Institute at the University of Chicago. His art uses software of his own design to generate and reconfigure masses of communal material, often drawn from film and television, in order to present new perspectives on the familiar. His art has been exhibited internationally and reviewed in publications such as Artforum, Art in America, The New York Times, Art News, and Wired.
Kristen Whissel is Associate Professor of Film Studies at the University of California, Berkeley. She is the author of Picturing American Modernity: Traffic, Technology, and Silent Cinema (2008), and a forthcoming book entitled Digital Effects Cinema.
Zhang Zhen is Associate Professor of Cinema Studies at New York University. She is the author of An Amorous History of the Silver Screen: Shanghai Cinema, 1896–1937 (2005) and editor of The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century (2007).