{"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":124,"pdf_page":137,"physical_index":137,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"0abf8db08af9d9c6ddeb17862e5343fe513c094d901f8f34a6a166f36a6c3884"},"chapter":"bodies in code","content":"Davies characterizes this philosophical dimension as an experience of “being” rather than of “doing\"xvii and correlates it with her well-documented immersion in scuba diving, the proximate inspiration for the breathing and motion interface as well as the diaphanous, shimmering surfaces. Yet, despite the Heideggerian rhetoric of withdrawal, the origin of Davies' quest to escape Cartesianism can be found, not insignificantly, in a more mundane, if not exactly everyday, personal experience: her early experimentation with her own extreme myopic vision as a source or catalyst for artistic creativity. She recounts,\n\nIn this unmediated, unfocused mode of perception, I discovered an alternative (non-Cartesian) spatiality whereby “objects\" had disappeared; where all semblance of solidity, surface, edges and distinctions between things—i.e., the usual perceptual cues by which we visually objectify the world—had dissolved. These were replaced by a sense of enveloping space in which there were no sharply defined objects in empty space, but rather an ambiguous intermingling of varying luminosities and hues, a totally enveloping and sensuous spatiality. (Davies and O'Donaghue, 1)\n\nDavies' virtual environments might be understood as efforts to bring this private experience and, most centrally, its creative or catalytic dimension-namely, the eclipse of visual mastery of external space—into the public domain. In this respect, Osmose and Ephémère constitute environments that manifestly do not aim to simulate \"realworld\" perception (as Gibson-inspired VEs do), but rather to utilize the virtual domain as a medium for sharing what must be considered a liminal form of experience. The statement Davies furnishes to accompany the exhibition of both works at the SFMOMA show, 01010101, makes this difference altogether patent: \"I imagine virtual space as a philosophical yet participatory medium, a visual/aural spatiotemporal arena wherein mental models or abstract constructs can be given virtual embodiment in three dimensions and then be kinesthetically explored by others through full body immersion and interaction, even while such constructs retain their immateriality.\"16\n\nBODIES IN CODE\n\n124","previous_page":123,"next_page":125}