{"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":113,"pdf_page":126,"physical_index":126,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"9762f7114d78622494c48231b6c9d5f141286e766a880d82ef14a8581b9cfd32"},"chapter":"bodies in code","content":"1. THE PRIMACY OF SELF-MOVEMENT IN CONFERRING REALITY ON PERCEPTION\n\nThe rhetoric associated with virtual reality clearly conveys its privileging of the visual register of perception. More than a mere bias of a popular culture that constantly barrages us with the promise of perfect simulation and the lure of disembodied existence, this privileging informs the research aims of scientists interested in virtual reality technology.\"The screen is the window through which one sees a virtual world,\" says VR pioneer Ivan Sutherland.\"The challenge is to make that world look real.\"6 Researcher Frank Biocca concurs, noting that \"the long-term developmental goal of the technology is nothing short of an attempt ... to fool eye and mind into seeing ... worlds that are not and never can be.\" Our aim, Biocca continues, is to transform “[a]n array of light on a visual display [into] a lush landscape in the mind of the viewer.\"7\n\nThis privilege accorded the visual has so thoroughly seeped into the practical design of virtual environments (VEs) by scientists, artists, and game designers that it might be said to dictate a kind of de facto standard: hard-edged objects and shapes, distinct spatial demarcations (e.g. into rooms or subworlds), vivid, surreal image quality, and perhaps most centrally, the deployment of a familiar infrastructural Cartesian grid. Conjure up your mental image of virtual reality. What does it present if not some version of this visually optimized, sanitized space? Having by now been streamed and restreamed through all available cultural channels (movies being, perhaps, the most effective one), this standard picture has become so ubiquitous that most of us would not even think of questioning it.\n\nHowever, rather than stemming from some necessity inherent in the technological interface or even in the makeup of our perceptual apparatus, this visual bias is, in fact, a complex artifact related to the motivating desires and scientific backgrounds of VR developers (largely male engineers) and, more generally, to the pervasive ocularcentrism of Western culture. In a recent study of space, identity, and embodiment in virtual reality, Ken Hillis has criticized the ocularcentrism characteristic of VR research by exposing the false promise of a multisensory interface with informational worlds. As he sees it, this rhetoric masks an underlying investment in the function of vision:\n\nEMBODYING VIRTUAL REALITY\n\n113","previous_page":112,"next_page":114}