Control of the version that is represented online

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control of the version that is represented online, which already became apparent when the company restaged her car accident: ‘I’m not saying make it up—I’m saying find the connections. Show us the buried logic’ , CEO Keene argues (LaM 316). Charlotte’s virtual repre sentation is modeled after a narrative and constructed according to an underlying pattern and with that moves more and more away from the physical Charlotte, who ultimately abandons the project, selling her ‘ Subject’s Identity’ to Ordinary People. Charlo tte changes her name, dyes her hair and walks out of her apartment, leaving behind her life, while being replaced by a virtual version of herself, who does not need her anymore: 'Now, a team of 3-D modellers and animators creates my likeness and superimposes her onto my balcony, my sectional couch, my kitchen, my bedroom' (LaM 513). In ultimately moving towards a complete representation of the physical body, without the actual body being absent, the novel’s has opened up the condition of virtuality: ‘the i mpression is created that pattern is predominant over presence. From here it is a small step to perceiving information as more mobile, more important, more essential than material forms. When this impression becomes part of your cultural mindset, you have entered the condition of virtuality’ ( Hayles Posthuman 19). For Charlotte, selling her Subject’s Identity means that Ordinary Space now owns her name, image, possessions, domicile, personal history, photographs, private correspondence, diaries, travelogues, financial records, medical records and 'all additional data pertaining to Subject's Identity' (LaM 513). The connection made between the Subject's Identity and data is crucial. It means that, for
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31 Ordinary Space, Charlotte’s identity is indissolubly co nnected to and mostly consists of data. This inverts William Gibson’s famous statement ‘data made flesh’ in Neuromancer (16 ) into ‘ flesh made data’. Galloway argued in Protocol, as Alan Turing demonstrated at the dawn of the computer age that the important characteristic of a computer is that it can mimic any machine, any piece of hardware, provided that the functionality of that hardware can be broken down into logical processes. Thus, the key to protocol’s formal relations is in the realm of the immaterial software. (72) Computers have made sense of Charlotte’s behavior. But more importantly, they have broken down Charlotte’s ‘software’, her identity, into logical processes. If we compare the novel’s last section on virtual identity to the rest of Look a t Me’ s use of term, the overall idea in the novel comes down to ‘finding out one’s identity’. Charlotte radical break with her virtual self can be seen in the line of her finally deciding for herself where she wants to belong, and no longer be subject to ideas other people have on what she should be: a model because she was beautiful, or part of the Extra Ordinaries because, as a former model who had a terrible car accident and subsequent facial reconstruction, she represented an entertaining story.
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