{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","title":"DIGITAL LABOR THE INTERNET AS PLAYGROUND AND FACTORY","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780415896948","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","uuid":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","title":"DIGITAL LABOR THE INTERNET AS PLAYGROUND AND FACTORY","normalized_title":"digitallabortheinternetasplaygroundandfactory","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780415896948","isbns":["9780415896948","9780415896955","9780203145791"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":267,"navigation_url":"https://workshop.closeclaw.top/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7","title_url":"https://workshop.closeclaw.top/ai/title/DIGITAL%20LABOR%20THE%20INTERNET%20AS%20PLAYGROUND%20AND%20FACTORY","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/a31b1606-7526-4f42-a12d-1edcb41ff0e7","page_url":"https://workshop.closeclaw.top/api/ai/books/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page","search_url":"https://workshop.closeclaw.top/api/ai/books/a31b1606-7526-4f42-a12d-1edcb41ff0e7/search"},"page":{"printed_page":186,"pdf_page":193,"physical_index":193,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"75ae80cda60e05c6d9dbe7a047ef23f5a0ccedf3e907710f0e56b7fec194a579"},"chapter":"DIGITAL LABOR","content":"29Brian Holmes, Escape the Overcode, http://brianholmes.wordpress.com/2007/07/20 escape-the-overcode/. Additionally, Wlad Godzich,in an important essay called\"Lan guage, Images, and the Postmodern Predicament,\" charts the increasing alienation of th subject of language over the long durée of European modernism, linking its existentia crisis to the decreasing purchase of language on reality orchestrated by the rise c mechanically reproducible images. And Nicholas Mirzoeff finds that the term visualit is first employed by Thomas Carlyle in “On Heroes and Hero Worship\" to describ the perspective ofthe conservative hero who will savethe republicfrom the risin power of the hordes. The suggestion is that the technomediated perceptions that ar in the contemporary at once unavoidable and constitutive—perceptions that we nov identify under the rubric ofvisuality—continue to be tingedwith this reactionar perceptual modality, in short, a suppression of the masses. Put another way, we coul say that the contemporary formation of visuality continues to conspire against th progressive forces of history. Here I would also include my own work on the cinemati mode of production as the emergence of a technology for the industrialization of visua perception and the transformation of the form of both work and the wage.\n\nFor more on this issue of inscription on the flesh of the global-social body, see my essa \"Paying Attention,\"in Cabinet 24(New York: Distributed Art Publishers, 2007). Th essay was republished for Documenta XII. (Documenta is the largest contemporary ai exhibition in Europe—similar to the Venice Biennial but curated by a single curato http://d13.documenta.de/)\n\n186\n\nThe Violence of Participation\n\n30","previous_page":185,"next_page":null}