{"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":168,"pdf_page":181,"physical_index":181,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"ba35ed67f2d44ebab595daab78d18aed6a1450d0e9808561d9a7a3b60a2ef088"},"chapter":"bodies in code","content":"Put another way, the work utilizes the universal addressability of the video gamexxv—by which I mean above all its form as a simple, goal-directed temporal exercise—to produce an affective experience of the incommensurability of racial stereotypes: it is through the experience of seeing her expectations of victory disappointed that the viewer is brought to feel the inappropriateness of her efforts to “help” the black male figure overcome the burden of cultural stereotypes. Rather than an opportunity to experience “what it feels like” to be this figure, as Shohat and Stam propose, the viewer is made to feel the utter pointlessness of any effort that stops short of grasping the bankruptcy of the racialized image.\n\n6. FORGING THE AFFECTION-BODY\n\nWe can now see clearly how Piper's project exploits the generalization of passing that forms the sociotechnical condition of possibility for online identity play. If we can say that passing within digital networks opens new opportunities for thinking identification, this is because and insofar as it gives concrete form to the essential impropriety of human life that is, as Agamben has shown, the basis for any collective individuation. To the extent that it deploys this concrete deployment of impropriety in the service of an affective universalization, Piper's work thus transforms a limited technical condition for identity production (passing within digital networks) into an opportunity to rethink identification. Whereas the generalized phenomenon of online passing simply exposes the bankruptcy of identity categories as a prosthesis for our bodily singularity, Piper's deployment of new media to catalyze an experience of impropriety turns this bankruptcy into an opportunity to think—and perhaps to live—singularity beyond identity.\n\nMore specifically, by catalyzing experiences of failed interpellation and affective confusion, Piper's work exposes a rich dimension of embodiment—affectivity—which is common to all. If affectivity is precisely the experience of one's incongruity with oneself (one's excess in relation to any fixing of identity), then Piper's work functions to link this fundamental singularity of the self with the fundamental singularity of the other (of all others), and thus to render singularity as such improper. In a simpler phrasing that is also more faithful to the phenomenology of the experience it affords, Piper's work confronts us with this incongruity in the other—the other's incongruity with itself—in a way that compels us to recognize it in ourselves.\n\nBODIES IN CODE\n\n168","previous_page":167,"next_page":169}