{"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":182,"pdf_page":195,"physical_index":195,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e3d13eefbdf17bc16d2cd48963c798754b910d86d1ad5f9bc2de83b1e62268da"},"chapter":"bodies in code","content":"Fused with architecture in this way, electronic media are relocated from a high-definition context to a low-definition one, with the result that their typical and deeply rooted correlation with the sense of vision is almost wholly suspended: \"The fog mass is primarily an experience of visual interference, thus the reliance on vision competes with Blur's most notable characteristic, obscurity\" (195). Embracing this fact as a challenge for the project, the architects view the Blur Building as a kind of machine for “rebalancing the senses\"; specifically, it furnishes an immersive environment in which the world is put out of focus so that our visual dependency can be put into focus\" (195). Beyond exposing the imbalance of our habitual sensory ecology, the project aims to substitute for the “focused attention of a visual spectacle\" an alternative: the attentuated attention of an immersive acoustic encounter\" (198).\n\nTo this end, the architects structure disorientation into the Blur experience and equip the impaired, visually dependent visitor with a \"braincoat,\" a raincoat with embedded technologies that forms “an acoustical prosthesis\" to the body's natural system of navigation. Rather than forming a preexistent architectural ground for experience, the Blur Building can be said to result from the actual navigation of bodies inside the cloud of fog. The acoustically guided movement of prosthetically enhanced, blind bodies in a nonspace creates an architecture of nothing, an architecture that is as much in the bodily experiences as it is in the acoustic and tactile mappings of space which they trace.\n\nHere, in sum and in an altogether literal sense, space is made wearable. Divorced from any fixed spatial form, space is directly coupled to the movement and experience of bodies. Less a \"building\" than a \"pure atmosphere,\" the Blur Building is, as the architects put it, a “habitable medium,\" (325, 162). Yet, even as it integrates the two dimensions of wearable space I enumerated earlier—the prosthetic extension of the body's contact with the environment and the affection of space as a medium of sensation—the Blur Building opens up some crucial questions that deserve further examination. How exactly does what takes place inside the body—the triggering of affective, proprioceptive, and tactile dimensions of experience—contribute to the constitution of space in the Blur experience? Why does the epochē of the visual through the deployment of a dynamic amorphous fog mass engage an alternate spatial sense and with it an entirely different kind of space? What is it about the body that allows it to use the sensory excess of its movement in this nonspace to generate a profoundly intensive spatial experience? Finally, what is it about space—or better, about its contemporary conjunction with media—that permits it to be so fluidly worn?\n\nBODIES IN CODE\n\n182","previous_page":181,"next_page":183}