Like So Much Processed Meat
“The hacker mystique posits power through anonymity. One does not log on to the system through authorized paths of entry; one sneaks in, dropping through trap doors in the security program, hiding one’s tracks, immune to the audit trails that we put there to make the perceiver part of the data perceived. It is a dream of recovering power and wholeness by seeing wonders and not by being seen.”
Flesh Made Data: Part I
This quote, which comes from a chapter in Wendy Hui Kyong Chun’s Control and Freedom on the Orientalization of cyberspace, gestures toward the values embedded in the Internet as a construct. Reading this quote, I found myself wondering about the ways in which identity, users, and the Internet intersect in the present age. Although we certainly witness remnants of the hacker/cyberpunk ethic in movements like Anonymous, it would seem that many Americans exist in a curious tension that exists between the competing impulses for privacy and visibility.
Looking deeper, however, there seems to be an extension of cyberpunk’s ethic, rather than an outright refusal or reversal: if cyberpunk viewed the body as nothing more than a meat sac and something to be shed as one uploaded to the Net, the modern American seems, in some ways, hyper aware of the body’s ability to interface with the cloud in the pursuit of peak efficiency. Perhaps the product of a self-help culture that has incorporated the technology at hand, we are now able to track our calories, sleep patterns, medical records, and moods through wearable devices like Jawbone’s UP but all of this begs the question of whether we are controlling our data or our data is controlling us. Companies like Quantified Self promise to help consumers “know themselves through numbers,” but I am not entirely convinced. Aren’t we just learning to surveil ourselves without understanding the overarching values that guide/manage our gaze?
Returning back to Rosenthal’s quote, there is a rather interesting way in which the hacker ethic has become perverted (in my opinion) as the “dream of recovering power” is no longer about systemic change but self-transformation; one is no longer humbled by the possibilities of the Internet but instead strives to become a transformed wonder visible for all to see.
Flesh Made Data: Part II
A spin-off of, and prequel to, Battlestar Galactica (2004-2009), Caprica (2011-2012) transported viewers to a world filled with futuristic technology, arguably the most prevalent of which was the holoband. Operating on basic notions of virtual reality and presence, the holoband allowed users to, in Matrix parlance, “jack into” an alternate computer-generated space, fittingly labeled by users as “V world.” But despite its prominent place in the vocabulary of the show, the program itself never seemed to be overly concerned with the gadget; instead of spending an inordinate amount of time explaining how the device worked, Caprica chose to explore the effect that it had on society.
Calling forth a tradition steeped in teenage hacker protagonists (or, at the very least, ones that belonged to the “younger” generation), our first exposure to V world—and to the series itself—comes in the form of an introduction to an underground space created by teenagers as an escape from the real world. Featuring graphic sex, violence, and murder, this iteration does not appear to align with traditional notions of a utopia but might represent the manifestation of Caprican teenagers’ desires for a world that is both something and somewhere else. And although immersive virtual environments are not necessarily a new feature in Science Fiction television, with references stretching from Star Trek’s holodeck to Virtuality, Caprica’s real contribution to the field was its choice to foreground the process of V world’s creation and the implications of this construct for the shows inhabitants.
Seen one way, the very foundation of virtual reality and software—programming—is itself the language and act of world creation, with code serving as architecture. If we accept Lawrence Lessig’s maxim that “code is law”, we begin to see that cyberspace, as a construct, is infinitely malleable and the question then becomes not one of “What can we do?” but “What should we do?” In other words, if given the basic tools, what kind of existence will we create and why?
Running with this theme, the show’s overarching plot concerns an attempt to achieve apotheosis through the uploading of physical bodies/selves into the virtual world. I found this series particularly interesting to dwell on because here again we had something that recalls the cyberpunk notion of transcendence through data but, at the same time, the show asked readers to consider why a virtual paradise was more desirous than one constructed in the real world. Put another way, the show forces the question, “To what extent do hacker ethics hold true in the physical world?”
 Although the show is generally quite smart about displaying the right kind of content for the medium of television (e.g., flushing out the world through channel surfing, which not only gives viewers glimpses of the world of Caprica but also reinforces the notion that Capricans experience their world through technology), the ability to visualize V world (and the transitions into it) are certainly an element unique to an audio-visual presentation. One of the strengths of the show, I think, is its ability to add layers of information through visuals that do not call attention to themselves. These details, which are not crucial to the story, flush out the world of Caprica in a way that a book could not, for while a book must generally mention items (or at least allude to them) in order to bring them into existence, the show does not have to ever name aspects of the world or actively acknowledge that they exist.