And we shouldnt take it too much for granted that fff

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and we shouldn’t take it too much for granted that F:F:F will always be here’ ( PR 50). Here too, the forum is presented as a physical place where people can yell. Cayce Pollard is hired by Hubertus Bigend to find out who the maker is. Bigend himself is CEO of a very successful marketing company who thinks the footage is ‘the cleverest example of marketing the century's seen so far’ ( PR 288), the single most effective piece of guerilla marketing ev er’ (PR 67 ), ‘the most brilliant marketing ploy of this very young century. And new. Somehow entirely new’ ( PR 67 ), and ‘a work of proven genius’ ( PR 69). Bigend wants to know who the maker is and offers Cayce t he money and resources to find ‘T he Maker , at which she with the help of her forum friends, succeeds. The makers of the footage turn out to be two Russian sisters, one responsible for the artistic process and one for the distribution. Cayce is brought to the place where the footage is made. Behind a series of steel doors, narrow concrete stairs that are lit by bare forty-watt bulb, beneath a sixteen foot ceiling that had gone sepia with decades of smoke and soot, she is leaded to a room with blackened windows, where Nora Volkova edits and cuts the footage, on ‘the largest LCD disp lay Cayce has ever seen’ ( 314). Paul N. Edwards argues that a ‘ closed world is signified by technological artifacts, darkness, electric tension, flickering fluorescent light, ringing telephones, active computer screens and flashing CPU’s and often represent the oppressed mental state of the people inhabiting this world (307). The Volkova sisters’ squatters apartment looks out onto t he Kremlin and the Duma, and the sisters still live under the strict surveillance of their affluent Russian uncle. For Edwards, the closed world is often inhabited by cyborgs. ‘The Maker’ Nora suffers from a mental locked in syndrome, and only communicates through the footage she edits. When Cayce is
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40 hesitant about disturbing Nora when she is editing, her sister Stella stresses: ‘She is here when she is working. You must understand. When she is not working, she is not here’, most significantly referring to Nora’s mental condition, rather than her physical presence. In “Traumas of Code,” Hayles argues that the most important feature of the novel is the way traumas are staged on multiple levels and rendered in code . For Cayce, her psychological trauma consists of the disappearing of her fat her at September 11, 2001. Nora’s trauma can be seen in her physical wound, which she got when she and her family drove on a land mine, killing her parent and leaving a part of the mine in her brain. Hayles is also concerned with the way trauma plays on th e level of the print novel: ‘the novel thus operates on two levels at once: as the visible trace of trauma that bodies experience in the text and as the text’s latent fear that the penetration by code of its own textual body could turn out to be traumatic for the print novel as a cultural form’ (“Traumas” 147). Hayles does not mention the concept ‘posthuman’ in her article once, but does
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