社交媒体是一个虚假的自我系统

Greg Singh
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引用次数: 0

摘要

在查理·布鲁克执导的电视剧《黑镜》(Ch4/Netflix 2011年至今)中,在“你的全部历史”这一集中,两个主角利亚姆和菲恩(托比·凯贝尔和朱迪·惠特克饰演)在他们的婚床上发生了性关系。我们见证了他们的做爱是一种明显的充满激情的相遇,充满了身体上的满足,通过充满活力的沉重呼吸,呻吟和汗水来表示。我们看到这对夫妇热情地抓着对方的身体,通过相互的身体识别来理解对方——一个在另一个身上,每个人都是一个更大的联盟的一部分。换句话说,这是一对热恋中的人之间理想化的性接触的表现。这个场景突然与另一个场景穿插在一起,在同一张床上,同样的一对夫妇仍然在做爱——但是在这种交替的效果中揭示了一些完全令人不安的东西。《你的全部历史》的背景是基于推测性的假体记忆技术,在这一集中,几乎所有的角色都在他们的头部植入了一个名为“谷物”的小装置。这些植入物记录下他们所看到的一切,从这些记录中,他们能够重新观看(从而在某种程度上重温)过去的时刻,无论是私下还是通过电视监控。这种记录生活方式在很大程度上是人们采用社交媒体技术来分享他们生活中丰富图像的方式的外推。从度假照片到早餐,再到超声波图像、相册、社交媒体画廊和“故事”都是满足“照片或从未发生过”这一生活方式号召的证据。这也反映了这种明显行为的常态化——那些没有“谷物”的角色被认为是奇怪的、异常的:就像那些在现实生活中没有采用Facebook和其他大规模流行的Web 2.0技术的人一样,他们是局外人。
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Social media as a false-self system
In the Charlie Brooker-helmed television drama Black Mirror (Ch4/Netflix 2011-present), there is a moment in the episode ‘The Entire History of You’ when the two main characters Liam and Ffion (played by Toby Kebbell and Jodie Whittaker) are having sex in their marital bed. We are witness to their lovemaking as a discernibly passionate encounter full of physical satisfaction, signified through energetic heavy-breathing, moaning and sweat. We see the couple enthusiastically snatch at each other’s bodies, apprehending each other in a grasp of mutual body-recognition – one in the other, each as one whole part of a greater union. It is, in other words, a representation of an idealised sexual encounter between two people who would seem very much in love. The scene is abruptly intercut with another in which the same couple, in the same bed, are still having sex – but something altogether disturbing is revealed in this alternating effect. The premise behind ‘The Entire History of You’ is based around speculative prosthetic memory technologies, where nearly all of the characters in the episode have had a small device implanted in their head called ‘grains’. These implants record everything they see, and from these recordings, they are able to rewatch (and thus to an extent, relive) moments from the past, either privately, or in company through television monitoring. This documentation lifestyle is very much an extrapolation of the ways in which people have adopted social media technologies to share abundant images of their lives. From holiday snaps to breakfast to ultrasound images, photo albums and social media galleries and ‘stories’ act as evidence to satisfy the lifestyle clarion call of ‘pics or it never happened’. It is also reflective of the normalisation of this evidential behaviour – characters who have not had ‘grains’ fitted are considered curiosities, anomalies: much like those who have not adopted Facebook and other massively popular Web 2.0 technologies in real life, they are outliers.
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