
Over the last several years, I've steadily increased the amount of time I spend in my moral and political philosophy courses on the theme of "digital identity." I've done so in part because one important cornerstone of my pedagogical practice is to use my courses to combat digital illiteracy-- the single greatest vulnerability that will be visited upon students who graduate without addressing it-- and so spending more time with texts and questions that provide students with a richer understanding of digital identity is eminently prudential. As with most philosophical themes that engage the oft-volatile combination of mind and metaphysics, questions surrounding digital identity have a tendency to very quickly overflow their sub-disciplinary container and seep out into theoretically-proximate areas, inevitably contaminating and reconfiguring elements of our ethical and political sensibilities as well. I find that students these days are deeply, sometimes passionately, concerned with the construction, maintenance and (especially) surveillance of their digital identities, though they are hardly reflective enough about how that construction, maintenance and surveillance shapes their lives in what sometimes gets called meatspace, i.e., the "real" flesh-and-blood world. In principle, I think that philosophy students
ought to spend serious time and effort reflecting on identity and,
as I've discussed here before, "real" and/or "true" identities (and identity-categories) in the 21st century are every bit as much digital as they are moral, social, political or material.
I suspect it will come as no surprise, then, that discussion of things like social media, artificial intelligence and humanoid robotics research frequently make their way into my course content. Recently, while prepping for my upcoming Philosophy and Film course next semester, I decided to watch
Ex Machina, the most recent film from sci-fi novelist and screenwriter Alex Garland (The Beach
, 28 Days Later
, Sunshine). The title of the film is a play on the Latin (from Greek) calque
deus ex machina ("god from the machine"), originally referring to the practice in ancient Athenian theater of literally hoisting an actor on stage with a crane (machine) and plopping him down in the story to resolve (as if by God) some conflict. Since, the phrase has come to refer more generally to dramatic and literary plot devices that effectively accomplish the same, introducing some super-natural agent into the human drama. In Garland's film, however, it is not a god that is made manifest and operational "from the machine," but rather a human being, which is not only a far more realizable possibility given technological advances these days but also a possibility of far greater concern.