22
" No longer content with the power of invisibility, a vocal subset of the population wants to be recognized and celebrated as White – a backlash against the civil rights gains of the mid-twentieth century, the election of the country’s first Black president, diverse representations in popular culture, and, more fundamentally, a refusal to comprehend that, as Baldwin put it, “white is a metaphor for power,” unlike any other color in the rainbow. "
― Ruha Benjamin , Race After Technology: Abolitionist Tools for the New Jim Code
24
" The show brilliantly depicts how the default Whiteness of tech development, a superficial corporate diversity ethos, and the prioritization of efficiency over equity work together to ensure that innovation produces social containment.5 The fact that Black employees are unable to use the elevators, doors, and water fountains or turn the lights on is treated as a minor inconvenience in service to a greater good. The absurdity goes further when, rather than removing the sensors, the company “blithely installs separate, manually operated drinking fountains for the convenience of the black employees,”6 an incisive illustration of the New Jim Code wherein tech advancement, posed as a solution, conjures a prior racial regime in the form of separate water fountains. "
― Ruha Benjamin , Race After Technology: Abolitionist Tools for the New Jim Code
28
" In this way DNA Dreams brings to life the dystopian nightmare we encounter in the 1997 film Gattaca, in which the main character Vincent, played by Ethan Hawke, narrates: “I belonged to a new underclass, no longer determined by social status or the color of your skin. No, we have discrimination down to a science.”46 As in so much science fiction, the Whiteness of the main protagonist is telling. Not only does it deflect attention away from the fact that, in the present, many people already live a version of the dystopia represented in the film in future tense. The “unbearable Whiteness” of sci-fi expresses itself in the anxiety underlying so many dystopian visions that, if we keep going down this road, “We’re next.”47 Whether it’s Keanu Reeves in The Matrix, Matt Damon in Elysium, Chris Evans in Snowpiercer – all characters whose Whiteness, maleness, straightness, and (let’s just admit) cuteness would land them at the top of the present social order – they all find themselves in a fictional future among the downtrodden. Viewers, in turn, are compelled to identify with the future oppression of subordinated White people without necessarily feeling concern for the “old” underclasses in our midst. "
― Ruha Benjamin , Race After Technology: Abolitionist Tools for the New Jim Code
29
" After it was revealed that the Miami Police Department used images of Black men for target practice, a movement of clergy and other activists initiated the hashtag #UseMeInstead circulating their own, predominantly White photos. In another form of subversive visualization, activists called out the way media outlets circulate unflattering photos of Black youths murdered by police or White vigilantes. They used the hashtag #IfTheyGunnedMeDown and asked the question “Which one would they use?” with dueling photos of themselves looking stereotypically “thuggish” (e.g. not smiling, wearing a hoodie, throwing up hand signs, smoking, or holding alcohol) and “respectable” (e.g. smiling, wearing a graduation gown or suit, playing with a baby, or wearing a military uniform). "
― Ruha Benjamin , Race After Technology: Abolitionist Tools for the New Jim Code
