{"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":100,"pdf_page":113,"physical_index":113,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"bf76d7d0e3ae94bbc76623095e238404f3f21e4477a70d8c2146e8cd7b8470d3"},"chapter":"bodies in code","content":"Taking up the accomplishment of Re:Positioning Fear (the disembodying of the individual body), Lozano-Hemmer's Body Movies—Relational Architecture 6 (2001) constitutes the artist's attempt to produce a transindividuation through technical disembodiment and subsequent reembodiment on a transformed scale and via an informational circuit (see Figure 1.10). Like the earlier work, Body Movies uses a tele-absence interface—namely, the projection of shadows cast by participants' bodies—to which it adds some new elements. These include the capacity for simultaneous, collective, indeed collaborative, participation; a role for body images; and a more direct assault on the culture industry and its domination via the circulation of mass illusion.\n\nThe work, which played from August 31 to September 23, 2001, in the Schouwburgplein in Rotterdam, consisted of the projection of over one thousand prerecorded portraits (captured in Rotterdam, Madrid, Mexico, and Montréal) onto the façade of the Pathé Cinema building. Powerful xenon lights placed at floor level totally washed the images out except when they were blocked by passersby whose bodies cast shadows of variable size (from 2 to 22 m high, depending on how proximate they were to the light sources) onto the façade, thereby rendering visible the otherwise hidden images. The locations of the shadows were continuously monitored in real time by a camera-based tracking system and, each time the shadows matched all the portraits in a given scene, the computer automatically updated the scene with a new set of portraits.\n\nIn his description of the work, Lozano-Hemmer stresses the way in which Body Movies encourages participants to embody the massive portraits (by superposing their shadows on them) only to frustrate this attempt by immediately replacing the images once they are so embodied. Linking this paradoxical structure to his effort to \"introducealien memory' as an urban catalyst,\" Lozano-Hemmer unequivocally characterizes the interactional space of the installation as a space in which the body “does not belong\"—that is, as a space that cannot be inhabited by means of the body image, of the body as an image, and of the image as the medium of the commonality between bodies, intercorporeity.³4 More clearly than in Re:Positioning Fear, the disembodiment of the body is carried out via a performative critique of the superficiality of the body image. Still, as was the case in the earlier work, what remains instrumental in the interface is the role of the shadow as a negation of the body's positivity, as a disembodied anti-image of the body, which can achieve agency within the informationally energized space of the installation solely because and insofar as it disembodies the individuated body.\n\nBODIES IN CODE\n\n100","previous_page":99,"next_page":101}