Wendy Chun is Professor of Modern Culture and Media at Brown University. She has studied both Systems Design Engineering and English Literature, which she combines and mutates in her current work on digital media. She is author of _Control and Freedom: Power and Paranoia in the Age of Fiber Optics_ (MIT, 2006), _Programmed Visions: Software and Memory (forthcoming MIT 2010), and co-editor (with Thomas Keenan) of _New Media, Old Media: A History and Theory Reader (Routledge, 2005). She has been a fellow at the Radcliffe Institute for Advanced Study at Harvard and a Wriston Fellow at Brown, as well as a visiting associate professor in the History of Science Department at Harvard. She is currently working on a monograph entitled _Imagined Networks_.

Sean Cubitt was born in Lincolnshire of Irish parents. He studied at Queens’ College Cambridge and McGill University, Montreal. In the 1980s he worked freelance in art schools, community arts, journalism, the Open University and as National Organiser for the Society for Education in Film and Television. He spent the 1990s in Liverpool, where he became Professor of Media Arts at Liverpool John Moores University, and was involved in developing the Foundation for Art and Creative Technology (FACT).

In 2000, he moved to New Zealand with wife Alison and dog Zebedee, where he was Professor of Screen and Media Studies at the University of Waikato. In 2002 he was appointed Honorary Professor of the University of Dundee. He now holds dual nationality with New Zealand and the UK. In July 2006 he moved to Melbourne.

Professor Goodrich was the founding dean of the department of law,Birkbeck College, University of London, where he was also the Corporation of London Professor of Law. He has written extensively in legal history and theory in the areas of law and literature and semiotics and has authored 10 books. He is managing editor of Law and Literature, and on the editorial board of Law and Critique. Recent books include (with Mariana Valverde) Nietzsche and Legal Theory: Half-Written Laws (Routledge, 2006); and (with Lior Barshack and Anton Schutz) Law, Text, Terror (Routledge, 2006). His most recent book is Laws of Love: A Brief Historical and Practical Manual (Palgrave-Macmillan,2006).

Named one of “10 Digital Directors to Watch” by Daily Variety, Jon Reiss is a critically acclaimed filmmaker who has produced and directed three feature films most recently Bomb It about graffiti and the battle over visual public space throughout the world. His experience releasing Bomb It with a hybrid strategy was the inspiration for writing Think Outside the Box Office: The Ultimate Guide to Film Distribution in the Digital Era, the first step-by-step guide for filmmakers to distribute and market their films. Reiss is now working with numerous film organizations, film schools and festivals to bring a variety of distribution labs and workshops around the world. Last spring, Reiss launched Think Outside the Box Office: The 2 Day Workshop in London, Amsterdam, NY, Los Angeles, Vancouver, San Francisco, Melbourne, Sydney, Perth, Adelaide, Atlanta, with more on their way. Jon was recently brought on board the IFP to help transform their Independent Filmmaker Labs into year-long completion, distribution and marketing labs.

Ron Schneier is a senior digital media and television executive with the unique ability to create and market both content companies and information/research businesses. Specific areas of expertise include early stage start ups, online video distribution, ad sales monetization, analytics, digital rights management, distribution and monetization for premium content owners including indie record labels, cable networks, and entertainment production companies and Producers.

Mr. Schneier joined Base79 as COO, North America in September 2010 and led the company’s efforts in the United States. Base79 is a digital media company that specializes in premium on line video distribution, monetization and digital rights management. During his tenure with Base79, Mr. Schneier built a premium content and digital rights management business in U.S through effectively marketing and negotiating agreements with top entertainment companies and Indie record labels.

Since the early 1990s his artwork has addressed complex issues raised by varied new techno-sciences using these very techno-sciences as a medium. His artworks have included data collection devices that examine the ramifications of polling and categorization, genetic experiments that undermine scientific constructions of race and identity, and temporary organizations that playfully critique institutionalization and corporatization. These “Operational Fictions” are hybrid entities–simultaneously real things and fanciful representations–intended to resonate in the equally hyper-real context of the contemporary electronic landscape.