{"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":166,"pdf_page":179,"physical_index":179,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"8f804f00db08c16fc8707a7cd1ab4d29a14d863d1595c4fc2318119b389210d0"},"chapter":"bodies in code","content":"Using the viewfinder to fix my sights on the red target adorning the back of the black male figure, I clicked and was again asked whether I wanted to continue my mission; answering yes, I was then confronted with a building displaying the sign “Price of a Ticket\" and flashing a red light at the location of the doorbell. Once again using the target to select this light, I clicked and entered a theater as the field zoomed into a screen displaying the message, “Seduction by Cyberspace: A Million Applications for a Brave New World,\" and showing six pictures featuring examples of high technology, including a stock trader, a comic book muscle man, a robotic auto factory, a combat soldier, a monitor displaying the logo, “Guerilla computing,\" and a photographer snapping a photo (apparently) of me.\n\nContinuing to use the viewfinder interface, I clicked on each of these images in turn, only to be disappointed that the action thereby triggered consisted of nothing more than zooming into the image. Still energized from my earlier success at avoiding techno jargon, I felt trapped in this space of inaction, where my need for some outlet in an action was disappointed by my severely limited ability to frame the image from a purely classifying and analytic point of view. Once I became sufficiently exasperated with this protracted inaction, I selected the exit button and was brought to a screen featuring a smiling white woman thanking me for visiting cyberspace and urging me to “have a nice day.\n\nOstensibly aimed at securing the viewer entry into cyberspace, this game-like space is in fact designed to make affectively salient the vast disparities between those who control this new medium and those who are not wanted there and are urged, as one screen puts it with a self-effacing, almost parodic irony, to “find contentment in premodernity\" (see Figure 3.3). In this sense, it functions much like Piper's earlier work, in which contradictions facing the black male subject are exposed for the viewer's consumption, except the anger informing that work has been replaced by a far more nuanced solicitation of an impossible emotional identification. Paradoxically, the vehicle for this solicitation is the work's deployment of the specific, constrained temporality of the video game interface.\n\nBODIES IN CODE\n\n166","previous_page":165,"next_page":167}