Before I introduce my moment of Global Frequency, I want to begin with Donna Haraway’s take on what technology means for feminism. She states,
“the cyborg is a kind of disassembled and reassembled, post-modern collective and personal self,” that “communications technologies and biotechnologies are the crucial tools recrafting our bodies,” and most importantly, that “this is the self feminists must code.” (Haraway 23).
The episode in Global Frequency that was most appealing to me in a way that connected significantly to Haraway is the one in which Aleph’s past and involvement with Global Frequency is revealed, the episode named “Aleph”.
It is important and interesting to notice that this episode is not only about the central woman who makes much of Global Frequency happen smoothly, but also that it is a series of communications between two important figures of the organization, both of whom are women, Miranda Zero and Aleph. It is thus a narrative in which Aleph is the agent of focus in Global Frequency and no other agent is involved because as she says, “Global Frequency central operations is now offline. For the first time ever.”
The particular moment in the episode that caught me most off guard is when the comic flashes forward to “today” and shows Aleph sleeping.
She is wearing a crop top and underwear and though it seems simple, it serves a purpose to show how feminine Aleph really is. The extent to which Aleph has been presented in the images preceding this episode is generic and not as much of a portrayal of her “female” qualities as it is in next series of images, and even the illustrations of this entire episode. I would also like to point out the particular artist for the episode on Aleph illustrates the young protagonist in a feminine, yet headstrong and “reassembled” way.
The fact that the episode is a set of exchanges through technology between Miranda and Aleph reminded me a lot of the above quotation from Haraway’s Manifesto. The very idea of Miranda Zero being the founder of Global Frequency and recruiting Aleph on a college campus to be her right-hand woman, “a superprocessor” in an organization that unites a collection of very different individuals through technology is the idea that Haraway seems to be speaking about when she says these technologies are the crucial tools to recrafting our bodies, our cyborg bodies. It is a special narrative of Aleph in that there are two beginnings in this episode: 1. Aleph’s beginnings with Miranda Zero and Global Frequency, and 2. the other a beginning of Aleph’s journey in finding the individuals who compromised the organization’s central system. Furthermore, it is special all the more because it does not necessarily have an end! Aleph kills two of the three persons and is face-to-face with the third on the last page of the comic to this episode, and yet, the reader is surprisingly left with a cliffhanger. We never really achieve the catharsis of having a complete narrative with this episode, or so it was in my experience. I appreciated the “ending” to this episode anyway, however, because it only reaffirmed Haraway’s concept of the cyborg and how its image can pave the path to a type of community that allows for her vision of feminism to be brought to posthuman life.