{"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":176,"pdf_page":189,"physical_index":189,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a9eceb0349ae6c96fd86d254a2a317a3523447f6602d4fd0b033af1940fc79a1"},"chapter":"bodies in code","content":"Neither in itself sufficient to theorize wearable space, affective computing and the aesthetics of eversion foreground crucial components of this concept. The former emphasizes the superiority of an affective basis of interface between computer and body; the latter demonstrates how space is intimately correlated with sensory capacities of the body and yet also infinitely flexible and convertible through these same capacities. Each, that is, foregrounds in its own way the creativity of the affective body—-the role of the body as at once a source for and activator of a rich affective constitution of space.\n\nMy aim in this chapter is to fill out this picture of wearable space by delving further into what happens when the body \"spaces the formless, to borrow a phrase from architect Peter Eisenman.³ If the defining material cultural shift of our time—the shift to the digital—has suspended the framing function performed by the (preconstituted) technical image (as I have argued in New Philosophy for New Media), then the task of clarifying the nature and extent of the coupling of body and space is particularly crucial at this moment in our coevolution with technology. The body—or rather, embodiment, the process through which bodies are produced—comprises the selective background on which information can be framed. Embodiment, accordingly, takes on a truly unprecedented responsibility: the responsibility of constraining and thereby specifying the process through which informational \"objects\"—images, space, events—are actually generated.\n\nTo understand how architecture is implicated in this new regime of embodied framing of information, let us consider a recent suggestion that architecture has dethroned cinema as the quintessential art of framing for our time. In Earth Moves: the Furnishing of Territories, architect and philosopher Bernard Cache boldly asserts the singular privilege of architectural images as the \"urban texture that enfolds all other images.\" Cache defines architecture as\n\nthe manipulation of one of these elementary images, namely, the frame. Architecture, the art of the frame, would then not only concern those specific objects that are buildings, but would refer to any image involving any element of framing, which is to say painting as well as cinema, and certainly many other things.4\n\nFollowing Cache, could we not say that architecture, as the art of the frame, forms a correlate to embodiment, as the operator of framing, such that all embodied framing is, necessarily, architectural, and all architecture is, likewise, necessarily embodied? To what extent, indeed, does architecture's privilege as the generic art of framing stem from the fact that architectural framing unavoidably entails a negotiation among formal manipulation, built space, and embodied life? Unlike cinema and any other technical art in which framing is built into an apparatus, and unlike painting, in which the frame forms a material precondition, architectural framing occurs as a process that is contemporaneous with its reception or consumption. That is precisely why we can say that it is intrinsically (rather than contingently) embodied.\n\nBODIES IN CODE\n\n176","previous_page":175,"next_page":177}