All the explicitly analog, non-networked technology and mechanically legible environs of the ship are a bulwark against the virtual. In Battlestar this virtual is both digital and biological.
Hence the dinginess of the ship, the sense that every space is grimy and everyone is sweaty stands in defiant contrast to to shiny contours of the Cylon fighter ships and foot soldiers, just as the crew stands in bedraggled contrast to the airbrushed, porn model perfection of six.
As the series progresses, it complicates and eventually deconstructs precisely this opposition. The human and the virtual, the biological and the artificially coded, are inextricably intertwined, from the central human characters who turn out to be Cylons to Cylon bio-technology used to reinforce the ship itself.
One crux, or at least crucial pivot point for this is when the ship finally finds humans original home world and discovers that Cylons were already there with us. At the point of origin one finds not the pure and uncomplicated, not the simple Platonic essence, but the hybrid. We are hybrids, complicated and compromised, fundamentally entangled with the non-human, all the way down.