{"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":172,"pdf_page":185,"physical_index":185,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"3dd1cada972a6dd3f60d5e7951ef03ae1adbb51b6af92ca41710db4e522914b4"},"chapter":"bodies in code","content":"Not surprisingly, the answer is: through affectivityxxxx-and not simply through the “use\" of affectivity to keep ourselves open as subjects bevond the lure of identity-positions and figures of individuality, but, more fundamentally, through an exposure of affectivity insofar as it is the essential impropriety, the utter singularity, common to us all.\n\nWe can now discern how Piper's politicization of affect responds to and transforms racial politics. As a catalyst for precisely such an exposure, Piper's complex strategy addresses the contemporary reality of technologized racialization which, in a sense, can be said to derive its power from its appropriation of the force of the (visible) raced image. At the moment when the raced image has been emptied of its promise as the signifier of a positive difference (recall the hypervisibility of a black sports figure like Michael Jordan), it has become brutally effective as the signifier of racism. I would suggest that this coincidence is not in fact a coincidence and that the current proliferation of racializing (and racist) techniques—including surveillance, profiling, and facial identification—can be linked directly to the emptiness of the (visible) raced image.\n\nStripped of any positive meaning for the subjects that it would mark, the raced image can function all the more effectively as an instrument of control. Without power to interpellate subjects as raced subjects, the raced image can no longer broker processes of identify formation and struggles for social recognition and, in effect, remains in force solely as an instrument of social techniques for identification, classification, and exclusion. The result is a profound paradox of our contemporary moment: the subjects targeted by these racist techniques can only misrecognize themselves in the images that, for this reason, manage all the more effectively to exert their violence upon them. Is this not just an updating of the “corporeal malediction\" that Fanon describes?\n\nBuilding upon and moving beyond the eclipse of visibility at stake in the online generalization of passing, Piper's work takes up the challenge posed by this paradox. Piper seizes the empty husk of the raced image, not to rehabilitate it against capitalist fetishism, but to extract its redemptive kernel. In the various ways we have explored, he deploys this empty image as the catalyst for a reinvestment of embodiment beyond the image, for an exposure of the rootedness of life in a source—affectivity—that lies beyond identity and individuality and thus beyond the reach of commodification.\n\nBODIES IN CODE\n\n172","previous_page":171,"next_page":173}