{"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":155,"pdf_page":168,"physical_index":168,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"31e547fbb5890f7fd1e7c57ed006e75a700cc59338e23dbaa0cd6e89319598cd"},"chapter":"bodies in code","content":"Once again, Fanon pinpoints the fundamental asymmetry of the identification process: the black self is simply deprived of any opportunity to participate in the dialectic of identification as described by Lacan. At the same time, however, insofar as the image of the black man constitutes absolute alterity within the white man's dialectic, it manages to exercise a degree of constraint on the latter. As that which refuses to be sublated in the dialectic of identification, resists integration into the corporeal schema and thus hinders its closure, the black body as absolute Other fundamentally interrupts the dialectic as Lacan describes it. On this account (i.e., from the white man's standpoint), racism stems from the need on the part of the white man to preserve the illusion of imaginary integration by denying the force of this interruption. Negrophobia is simply the result of such a projection: the image of the black man creates anxiety because it is \"the corporeal reminder\" of just how precarious the illusion of integration actually is to borrow a term from Gail Weiss.\n\nTo comprehend the reverberations of this interrupted dialectic— specifically, the qualified agency it would seem to assign the black man's image—we need to ask why, exactly, the black body has this role of absolute Other, exemplar for pure alterity. Fanon's reasoning here is admittedly complex, detouring as it does through psychoanalytical theorizing; however, what seems unequivocal throughout his analysis is the identification of the Negro with the “biological.\" \"What is important, he specifies at the beginning of his analysis of negrophobia, “is to show that with the Negro the cycle of the biological begins” (161). Unlike the Jew who is persecuted as a member of a race, the Negro is persecuted as a concrete personality\": “it is in his corporeality that the Negro is attacked\" (163). Again, unlike the Jew who stands for the “intellectual danger\" of cultural displacement, the Negro \"symbolizes the biological danger.\" By “projecting his own desires onto the Negro,\" the “civilized white man behaves as if' the Negro really had them.\n\nThus, concludes Fanon, \"to suffer from a phobia of Negroes is to be afraid of the biological. For the Negro is only biological. The Negroes are animals. They go about naked. And God alone knows\" (165). By identifying the Negro with the biological, Fanon in effect comprehends the absolute alterity of the black body as the corporeal remainder of the biological itself, as that dimension of the living (what Agamben has analyzed as zoē or “bare life\") that simply cannot be denied, no matter how forceful and complex the mechanism of projection may be. In this respect, the unassimilable black body is a living emblem of the excess of embodiment over its captation by the image (the dialectic of identification).\n\nDIGITIZING THE RACIALIZED BODY\n\n155","previous_page":154,"next_page":156}