{"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":12,"pdf_page":25,"physical_index":25,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"0532edae58252e953a1fcf602d47b478db7eb59cce669a906652ca7cd590a6cd"},"chapter":"bodies in code","content":"Like motoric embodiment discussed early, as well as Ruyer's later concept of the “absolute survey,\" the organismic perspective is absolute in the sense that it opens access to everything—to the world, to other bodies, to my body as object.\n\nRuyer conceptualizes his understanding as “reversed epiphenomenalism,\" meaning a reversal of the doctrine that subjectivity is an epiphenomenon of physical, material properties. For Ruyer, these latter (that is, the entire physical world, including that peculiar materiality known as consciousness) are simply epiphenomena of primary subjectivity.xi In this respect, Ruyer's work radicalizes the perspective of autopoietic theory, with its categorical and concept-defining privilege of the operational perspective of the organism over any observational perspective.xii For Ruyer, a primordial dimension of the living not only remains inaccessible from an external standpoint but also can only be (as philosopher Michel Piclin puts it) “felt from within.\"12\n\nBy assimilating the external image of the body to the perspective of the organism, Hawkinson's Blindspot might be said to depict the operational perspective for an age of total technical mediation (of exposed mixed reality) like ours. In so doing, Blindspot lays bare the technical element that inhabits the originary subjectivity of reversed epiphenomenalism: it reveals that self-experience today necessarily encompasses the power of imaging as a power of the organism (in this respect, it actualizes what has always been potentially the case). With its technical support in our world today, imaging has become what it has always been potentially: an aspect of primary self-experience (and not simply a derivative of the image of oneself held, and thus mediated, by the other).\n\nViewed in this context, Ruyer's own dismissal of the mirror image (a concrete figure for the minimal condition of mixed reality) can be seen as part of the technophobia characteristic of Western metaphysical discourse.xiii Eschewing such technophobia, Hawkinson announces in works like Blindspot that concrete technical conditions for self-experience today necessarily include the “internal observational\" perspective made possible—as a power of imaging—by technical image mediation.\n\nTo anticipate an argument from Part II of this book, Blindspot thus pronounces the nonpathological generalization of the social-technical-psychological condition of psychasthenia, meaning \"a state in which the space defined by the coordinates of the organism's body is confused with represented space\".13 If such a confusion has become normative for our experience in the world today—and what else is at stake in the technical exposure of mixed reality?—this is not because the organism has lost its perspective to that of external images (the gaze of the other), as all constructivist theories allege, but rather because technical progress has exposed imaging as the crucial organismic dimension that it has always potentially been.\n\nBODIES IN CODE\n\n12","previous_page":11,"next_page":13}