Nakamura, Digitizing Race, Introduction, chapter 5, Epilogue

222 Notes to Chapter 4
17. Rob Walker, “Sophisticated Baby,” 20.
18. Sparke, As Long As It’s Pink, 74.
19. See Bowlby, Carried Away and Just Looking.
20. John A. Walker, “Hyperreality Hobbying.”
21. Kapsalis, “Making Babies the American Girl Way,” 224.
22. See websitesthatsuck.com for some of the principles of “good” Web site design.
23. Star, “From Hestia to Homepage,” 638.
24. Gans, Popular Culture and High Culture, 146.
25. Pinney and Peterson, Photography’s Other Histories, 219.
26. Images used in this chapter have had identifying details removed to protect
the privacy of the poster.
27. Sprague, “Yoruba Photography,” 252.
28. See http://www.freewebs.com/prettyprinsess and http://www.over-the-moon
.org/dollz for some examples of popular avatar construction sites, the first of which
caters explicitly to users wanting to creating pregnant avatars. These sites assume a
female user; some feature only female “dollz,” are notably hospitable to amateurs,
and usually assume no prior knowledge of computer graphics, in contrast to the tone
evident in many software-oriented sites that cater primarily to men. As Don Slater
notes in “Domestic Photography and Digital Culture,” this characteristically technologically
oriented gendering obtains as well in the photographic industry, which
has marketed cameras to women based on “ease of use” and marketed darkroom
equipment and high-end cameras to men based on their superior performance. Many
of the creators of these dolls request that permission be given before download, and
that credit be given in a byline before the user displays an image on the Web. Thus
this “gift economy” of avatars comes with some caveats that imply ownership.
29. Quoted in Squires, “Fabulous Feminist Futures,” 365.
30. Wakeford, “Networking Women,” 356.
31. Stabile, Feminism and the Technological Fix, 84.
32. Ibid.
33. See Doyle and O’Riordan, “Virtually Visibile,” for further discussion of
d’Agoty.
34. Cartright, Screening the Body, 30.
35. Ibid.
36. Mirzoeff, The Visual Culture Reader, 18.
37. Haraway, “The Persistence of Vision,” 677.
38. Hansen, New Philosophy for New Media. See as well Manovich, The Language
of New Media, for an account of the “dynamic screen.”
39. Burnett and Marshall, Web Theory, 18.
40. Phelan, Unmarked, 133.
41. Currier, “Assembling Bodies in Cyberspace,” 552.
42. See Doyle, Wetwares.
43. New media criticism by Jennifer Gonzalez and Doyle and O’Riordan has
showcased the site as an example of these possibilities. See Gonzalez, “The Appended
Subject”; and Doyle and O’Riordan, “Virtually Visible.”
44. Mirzoeff, The Visual Culture Reader, 6.
45. Farred, What’s My Name?, 7.