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It’s a moment in which the data starts to direct us.

As simple as that transition is, it’s also earthshaking.

The morning of June 9, 2013, was surreal for the writers of “Person of Interest,” the science-fictional CBS drama about government surveillance. whistle-blower—a fresh-faced, thirty-three-year-old analyst named Henry Peck. with the identities of terrorist plotters around the world.

Sixteen months earlier, they had written an episode about an N. When Peck discovers that his agency is conducting “illegal surveillance on a massive scale,” he sets up a meeting with a journalist, and soon finds himself evading a squad of government assassins. But because it sees everything—it reads the e-mails not only of terrorists but also of regular citizens—the Machine can predict when ordinary people are planning violent crimes.

The Machine weighs factors like “motivation” and “predisposition”; when it watches surveillance footage, it superimposes a red-and-white targeting reticule over the faces of people whom it deems threatening.

(The legal scholar Jeffrey Rosen, in his book “The Naked Crowd,” warns about the dangers of surveillance-generated “risk profiles,” which “ensure that different groups of individuals are treated differently in the future based on their behavior in the past.”)Watching “Person of Interest,” you can’t help noticing how useful the show is in thinking about the future of the surveillance society. (A developing arc in “Person of Interest” imagines a private intelligence firm, based outside the U. I.,” private data is a naïve fantasy: data streams that seem secure can be easily stolen, decrypted, and combined, if not by the government then by someone else.)The show’s executive producers, Jonathan Nolan and Greg Plageman, are pessimistic about our ability to extricate ourselves from the surveillance society.

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Programmed never to divulge personal information about its surveillance targets, the Machine dispenses only their Social Security numbers. surveillance by the journalist Shane Harris, which describes how John Poindexter, the head of the Total Information Awareness program, envisioned a Machine-like system equipped with a module that would hide the identities of surveillees from intelligence analysts, representing them only with numerical codes.) Thanks to the Machine’s probity, it’s unclear at the beginning of most episodes whether the person of the week is “the victim” or “the perpetrator”; all we know is that he or she is about to be involved in something bad. Much of the show’s energy derives from this ambiguous setup.

At the same time, working on the show had changed his sense of what’s alarming about the N. A.: his focus had shifted from privacy to prediction.

“In an abstract, data-driven way,” he said, “Finch knows the likelihood of certain behaviors. What characteristics can be attributed to certain kinds of people.”In some of the best sequences in “Person of Interest,” we see images of characters overlaid with predictions about what they will do.

(On a UNIX computer system, the “root” account is the most powerful.) “As soon as I get to New York,” she said, “I start looking around to see which cameras are watching.” On a break between scenes at the Williamsburg Bank Building, in Brooklyn, Michael Emerson pointed out a surveillance camera—a real one—mounted in a corner of the vaulted interior.

“I doubt there’s a single point in this building that’s unobservable,” he said.




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