While Race in Cyberspace offers cultural studies an important discussion on the ways race is played out in the electronic realm, cyberstudies must consider the theoretical positions put forth by writers like Burroughs. The challenge to cultural studies in the digital age is not to reproduce the logic of print culture (representation) to question racism, but instead to ask how racism can be fought in the digital through various cultural and technological strategies. For, as Burroughs pointed out, representation is always a difficult concept to nail down because of our own cultural positions. Your knowledge of what is going on can only be superficial and relative. (Naked Lunch 220) Reading the digital South, for instance, is a cultural position constructed out of a "relative" ideology. Critiquing one position by way of another does not necessarily solve the problem. Instead, we must manipulate those positions we deem unfavorable (like racist websites) through the technology those ideologies are constructed from. Otherwise, technology, by itself, will always reproduce dominant discourses.       Probably the best lesson Burroughs has for the study of cyberculture is the cut-up. Cutting and rearranging a page of written words introduces a new dimension into writing enabling the writer to turn images in cinematic variation. (The Third Mind 32) The cut-up is the strategy of hybridity put forth by Gomez Peña; the cut-up is the method used by hip hop culture to critique social injustice. And the cut-up is a practice most practitioners of digital culture already know to some extent. In fact, when we write for the Web, we most likely engage the cut-up in some form (copying source code, rearranging HTML tags). The task now is to reapply it as a method of cultural critique and not just as a design strategy, to look to current digital practice (like Gomez Peña or Mez) for models for how to digitally critique institutional practices.