Hayles does not mention the concept posthuman in her

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(“Traumas” 147). Hayles does not mention the concept ‘posthuman’ in her article once, but does argue that ‘in Pattern Recognition , there is never any doubt that the world of flesh and blood exists in its own right as something other than code’ (“Traumas” 147).
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41 4.0 Balancing the Physical and the Virtual in The Social Network (2010) In an article for The New York Review of Books, Zadie Smith offers a ‘Person 1.0’ interpretation of David Fincher’s film The Social Network (2010) . Smith argues that, even though she must be in the same generation as Mark Zuckerberg, and even though ‘she was there’ during Facebook’s inception at Harvard in 2003, she feels distant from the people she calls ‘Generation Facebook’: ‘we have different ideas about what a person is, or should be’ (Smith). Smith goes on in arguing that the online software in which Generation Facebook is ‘building their virtual mansions’ is ‘unworthy’ of them (Smith). Here, Smith channels Lanier who argues that people are reduced by their online profile. This chapter on The Social Network explores how the film ‘made by 1.0 people about 2.0 people’ sees the upstart of Facebook and its inventor Mark Zuckerberg, played by Jesse Eisenberg. Even though the film depicts th e world’s most famous virtual community website, its narrative mostly focuses on the tensions the site creates in the physical world and the pressure it puts on the friendships in the actual world. In it film’s form, the spectator gets a sense of the tensi on between the virtual and physical world, and the connotations director David Fincher, who Smith argues is just like her still a ‘1.0 person’, has in relations to these distinct worlds. The Violent Implications of Networks The Social Network chronicles the inception of Facebook at Harvard in the fall of 2003. 9 The invention of this site is framed by an earlier creation of Zuckerberg: ‘Facemash’, The underlying assumptions and the amount of time that is taken up by this earlier site gives an inclination of implications the makers of the film ascribe to Facebook. Facemash (probably purposely resembling the word ‘FaceSmash’) is a platform that puts two photos of female Harvard students adjacent to each other, at which the visitor is asked to choose the more attractive of the two students. After the 9 The film makes clear that at time of its invention, ‘Facebook’ was initially named ‘The Facebook’. For consistency throughout this chapter and thesis in general, when referring to Zuckerberg’s popular website, I will just use ‘Facebook’.
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42 link is circulated through Harvard’s male population, we see groups of young students hurdle around their computers while ranking the photos and adding insulting comments (see fig. 1).
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