{"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":160,"pdf_page":173,"physical_index":173,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"1dff4d5ac19a74574c12e450c8d5e2ec4a5fa3e943bdd1a23999598342260bfa"},"chapter":"bodies in code","content":"Here, Piper's strategy would seem to be that of resisting the eviscerating of the image by capital, not by restoring content to the image of the black male athlete, but rather by reclaiming its empty promise as the source for the experience of affective confusion. However, the high degree of specificity attached to this act of reclaiming is most crucial. Although the exposure of the paradox of hypervisibility can certainly speak to all viewers, white and black alike, the concrete effect Mercer cites—namely, Piper's nuanced channeling of the commodified image through the channels that mediate each subject's self-image—here applies specifically to black (male, and to a lesser extent, female) subjects. Put another way, the emotional charge of these images—their capacity to induce affective confusion—will be limited to a narrow group among Piper's potential audience who are directly affected by the particular cooptation exercised in the capitalist exploitation of these stereotypes. This specificity, moreover, is interconnected in complex ways with the unique problematic of (in)visibility in the performance of race, what Fanon describes as the utter slavery of the black man to his appearance.\n\nDevoted to the legacies of colonialism, the second virtual room, Unrecorded, marks a significant expansion of the affective dimension of Piper's project. Here, Piper takes the plurality inherent in colonialism's legacy as the basis for an interrogation of the concept of identity. Indeed, by articulating colonialism with contemporary technoscience, Piper opens up a vast continuum that potentially encompasses the interests of any potential viewer-participant, regardless of his or her given marks of particularity. No matter where one is positioned in relation to the Diaspora experience, no one can claim to be outside the sphere of its contemporary effects--that is, if these effects are taken as manifesting biases and violence built into the reigning epistemological discourses of the West. Put in a perhaps more positive light, we might say that Piper stages a deterritorializing of colonialism from an overly narrow historicism, thus revealing \"the convulsions of a multicultural society in which the descendents of colonizers and colonized alike are mutually enmeshed in histories that are not yet fully known\" (Mercer 18).\n\nBODIES IN CODE\n\n160","previous_page":159,"next_page":161}