xvi. Lingis explicitly identifies the perspective presented by the body image as that of observation:
To assume a posture is to contract a “body image”: as we sit at our desk we have a sense of the visible shape with which we fill out a volume in the room; as we stretch our legs under the table we have a sense of how their position looks. The more our attention is absorbed in our task and our feeling in the orientation and rhythm of our forces, the more determinate is this perception of the sides and outer contours of a thing we form. This image is different from the patches of surfaces we are actually seeing and those we remember. It fills out the outer aspect of our body as it would be seen by someone viewing it from a distance sufficient to see the whole position or movement. (63)
xvii. A transductive relation is one in which the relation is primary in relation to its terms. See Gilbert Simondon, "The Genesis of the Individual."
xviii. He reports that people emerged from the CAVE "sweating, panting and red-faced! They really had to do physical work to interact with the system. People lay on the floor, jumped, kicked and danced. This in itself was proof that we have built a dramatically different type of CAVE experience” (Penny et al.).
xix. To do this issue justice, one would have to consider Bergson's curious and productive conceptualization of the image as an ontological dimension somewhere between the subjectivism of the pure image and matter. For a discussion of the image in Bergson, see Gilles Deleuze, Cinema 1, Chapter 1. I discuss the role of affectivity as a bodily contamination of pure perception and the image in New Philosophy for New Media, especially in the Introduction and Chapter 2.
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