{"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":279,"pdf_page":292,"physical_index":292,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"587ac343d3d115ffd08363afedc9a801c6bb3f9320ee3fa9da269f29d19044cc"},"chapter":"bodies in code","content":"[The CD-Rom that I'm currently working on] is provisionally entitled ‘Caught Like a Nigger in Cyberspace,'and essentially it's an attempt to further explore what I saw as the particular ways in which black people have been characterized in terms of the digital domain, in terms of the ways in which our presence is often seen as transgressive, as the embodiment of threat and disorder. It's meant to have a computer game-type feel, even though it hasn't!\" (Keith Piper, \"In the Ring.\")\n\nxxxiii. Here is Deleuze's definition of the affection-image:\n\nThere is therefore a relationship between affection and movement in general which might be expressed as follows: the movement of translation is not merely interrupted in its direct propagation by an interval which allocates on the one hand the received movement, and on the other the executed movement, and which might make them in a sense incommensurable. Between the two there is affection which re-establishes the relation. But, it is precisely in affection that the movement ceases to be that of translation in order to become movement of expression, that is to say quality, simple tendency stirring up an immobile element. (66)\n\nxxxiv. Agamben has criticized Deleuze's deployment of the concept of the image in \"Notes on Gesture,\" in Means Without Ends. Agamben argues that the gesture lies beneath the image.\n\nxxxv. Here I mean the fact that it is—at least ostensibly—intended for all viewers. For this reason and despite the fact that video games have been shown to have built-in race and gender biases, Piper can use the video game interface as a signifier of that supposed universality.\n\nxxxvi. Even though it ignores the phenomenon of contemporary techniques for direct intervention into the body which many see as a new phase of capital, one in which it is the body (and not just the image) that is capitalized. See the discussion in Muriel Combes and Bernard Aspe, “Retour sur le camp' comme paradigme biopolitique. Giorgio Agamben,\" (20,23). Agamben, of course, addresses biotechnology directly in Homo Sacer and Remnants of Auschwitz.\n\nxxxvii. Simondon develops his analysis in the two volumes of his thèse d’état, L’Individu et sa Genèse Psycho-Biologique (Paris: Jerome Millon, 1995) and L’Individuation Psychique et Collective (Paris: Aubier,\n\nNOTES\n\n279","previous_page":278,"next_page":280}