self

Here, Amber Case states something commonly repeated on this blog: we are all cyborgs. As such, she calls herself a cyborg anthropologist, similar to how we conceive of the study of technology and society as Cyborgology (perhaps without such strict disciplinary terms – but that is another discussion).

However, there is much disagreement between Case’s usage of the term and how I (and others) on this blog define a cyborg.

First, Case argues in the video above that the human cyborg is a recent invention. A product of new technologies that compress our mental capacities over time and space. On this blog, however, we tend to use the term much more broadly. For instance, one fundamental technology that structures other technologies built upon it is language. Post-structuralist thinking has long taught us about the power of language to drive what and how people think, how selves are formed, how power is enacted, and so on. Other technologies, such as spatial organization (think the architectural technologies of the amphitheater or panoptic prison) have profound impact on the mental processes of humans. The human mind has never been independent of technology, and, as such, we have always been cyborgs.

My second disagreement surrounds Case’s argument that more...

While the tide is turning, comics are still an under-appreciated medium in 2011. This despite increased interest in superheroes given the Hollywood treatment and critical attention to thoughtful indie pieces like Fun Home and Love and Rockets. It’s a shame because comics’ juxtaposed panels, their special way of framing time in terms of space, are well equipped to address those intersections of identity, technology, and visual representation that get so much play in mainstream and academic press. Image Comics’ Infinite Vacation is one new ongoing title that tackles those ideas head on.

Writer Nick Spencer is a rising star whose big hit, Morning Glories, blends teenage drama with the surreal paranoia of 60s TV thriller The Prisoner. In Infinite Vacation, Spencer teams with artist Christian Ward to tell the story of Mark, daily user of a ubiquitous, near-future technology which allows anyone to buy or sell their existence in parallel universes through a smartphone app; for $25,000 Mark can become the hero cop version of  himself, and it’ll cost at least $3000 for him to become a Mark who did not just get walked out on by that mystery girl in the coffee shop.

Mark is a cyborg less like Robocop and more like the average Facebook user who presents their preferred self to the world via an array of edited images, clicked “likes”, and comments with friends (i.e., exactly how Cyborgology editors define the cyborg in their inaugural post).  Identity definition and presentation through web spaces and consumer devices is a major theme in Infinite Vacation, whether it’s the RSS feed of your alternate selves’ lives and deaths or that mystery girl saying, “That thing in your hand isn’t worth shit to me…” when Mark tries to prove his seriousness by showing how expensive his app-assisted reality purchase would have been. A gorgeous opening spread (below) has infinite Marks fitted into generic male outlines, reminiscent of your chosen profile picture replacing the pale blue Facebook default. more...

It is long established that digital identity is a highly fluid concept. Since the earliest days of public engagement with the Internet, this has been a feature of the discourse: the realm of the virtual allows one to construct identity from the ground up, to assume a kind of control over self-presentation not possible in the realm of the flesh, to be or to seem to be anyone, anything, anywhere.

In practice, of course, this is clearly not the case–or not the whole case. Virtuality affords people a kind of power in the construction of the digital body that they do not have with their actual body. But when one presents the self online, they most often present that self in settings and contexts that other people have constructed. This is one place where problems with the presentation of the digital body tend to arise. When one plays in someone else’s garden, one might be expected to play by their rules. This is generally well and good, but things turn problematic when the “rules” involve the imposition of categories or identities that people may not accept.

This issue recently came to a head regarding deviantART’s “gender” field in its user profile. The trouble in question started when a user who identified as “neutrois” took issue with the fact that the choices in the field were restricted to male and female–there had been an “unspecified” option, but for unclear reasons it had been removed, forcing users to choose between only the two. There followed a number of exchanges with deviantART support personnel. These got rather heated, and it became clear that there was significant confusion on deviantART’s part regarding the difference between sex and gender (which amounts to the difference between genitalia and identity). In the end, though an “other” option was added, most people following the exchanges felt that it was not a satisfactory solution. more...

In the social sciences, we often hear about, talk about, and preach about the relationship between theory and methods. Here, I present a poignant example their interconnectedness.

In a recent post, I argued that the accomplishment of authenticity in a cyborg era is particularly difficult. Drawing on Goffman, Turkle, and others, I argued that we live in a time of constant documentation, exposing the identity work that is supposed to remain hidden in the so-called “back stage.” I purported that our online and offline selves are not only mutually influential, but that we also engage in preemptive behavior in order to accurately present our ideal selves through multiple mediums.

Overall my theoretical point is this: As social actors we expect authenticity in others, and in ourselves. In a time of constant documentation, our online personas become our reflections, and they must not only be ideal, but also truthful. As such, we do not document falsehoods, but preemptively create documentable situations in an effort to present a self that is simultaneously ideal and authentic.

Here is the methodological conundrum: If the constructed nature of selves and identities must remain hidden not only from others, but also from ourselves, then how can we get people to talk about the labor involved in the identity construction process? In other words, how do we support the theoretical assertion? more...

The self is a tricky thing to accomplish. Who we are is signified by a seemingly infinite number of factors: our physical appearance, the groups we belong to, the events we attend, the things that we say, how we say the things that we say, the friends that we keep, the work that we do, the way that we spend our leisure time, the amount of leisure time we allow ourselves etc. Each of these factors reflects the decisions that social actors have to make about who they are, and about the lines of action they will take in order to be defined in a particular way.  In short, social actors are required to engage in significant amounts of “identity work”.

This work, however, must remain hidden. The “catch” in constructing a self that will be accepted by others, is that the self must come across as authentic. The self must appear to be spontaneous, uncalculated, and effortless. Said differently, identity work must remain invisible, it must be strictly relegated to the backstage (Goffman 1959).

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