{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","uuid":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","normalized_title":"bodiesincodeinterfaceswithdigitalmedia","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","isbns":["0415970164","0415970156","9780415970167","9780415970150"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":348,"navigation_url":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title_url":"https://workshop.closeclaw.top/ai/title/Bodies%20in%20code%20%20interfaces%20with%20digital%20media","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","page_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/search"},"page":{"printed_page":148,"pdf_page":161,"physical_index":161,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7abe4bf20f1f747ef236655c5db2fda226b40fedc95a091bd66d665196bebce6"},"chapter":"bodies in code","content":"The important question thereby raised is whether this margin of indetermination and the exploration it facilitates can yield something positive. Does the generalization of passing—and the bracketing of the visual as the privileged register for racialization—simply subject all embodied individuals to the same conditions, to the same struggle for identity? Or, might it rather be an opportunity to challenge the assumptions underlying the application of racial signifiers to bodies, assumptions that include a static picture of the individual as well as a subordination of embodiment to the force of the image?\n\nSo long as we remain focused on the most literal spaces for identity play in cyberspace (the chat room, multiplayer video games, etc.), we will be unable to address this crucial alternative. That is, we will retain interpellation—the hailing of the embodied individual that confers identity and agency, always at the expense of some dimension of embodiment—as the category for thinking racialization. We will thus fail to capitalize on the excess of embodiment over interpellation that I propose (following Simondon and Michael Hardt) to call “affectivity' and that, as we shall see, forms the medium for an inclusive experience of impropriety, a collective \"whatever body\" (Agamben).\n\nBecause we need to think beyond interpellation, the generalization of passing that has been our focus thus far (and indeed, online identity play in general) can do no more than suggest a kind of technical readiness or even ripeness, an availability or disposition, to use Simondon's term (disposition), for a rethinking of the relation between embodiment and racialization. To pursue the avenue it opens, I shall thus turn to the work of Malta-born British artist Keith Piper, whose multimedia, multiplatform, archival synthesis of his work from 1980 onward, Relocating the Remains (1997), brilliantly deploys digital technics as a means of thinking—of compelling viewers to think—racialization beyond interpellation.\n\nPiper's work constructs yet another body-in-code—this one concerned specifically with the dematerialization of cyberspatial interaction and community—that, to the extent it invests in the materiality of the digital, forms a complement to the online epochē of the visual. Because of its use of digital technics, Piper's work (as we shall see shortly) allows and perhaps even compels us to negotiate our relation to stereotyped media images—images that function by capturing embodied force—in ways that mobilize viewer affectivity as a mechanism for experiencing the excess of embodiment and for deploying it toward the forging of a collective \"whatever body.\"\n\nBODIES IN CODE\n\n148","previous_page":147,"next_page":149}