{"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":188,"pdf_page":201,"physical_index":201,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"f69418d549c97b20bedb2d3cc572671e6ed0046c85cf59ebfd9172ecbda393d4"},"chapter":"bodies in code","content":"Further exploration reveals another symmetry set into this space because the large restraining wall running along one border of each transition from concrete “floor\" to sand “wall\" diagonally divides the entire space into two mirror-image segments. Insofar as the respective symmetries built into this space exist in internal tension with one another, they place architectural landing sites within the space that function precisely to catalyze a shift from the body's habitual perceptual grasp of space as extended to an imaging or longitudinal grasp of space as affective. Here, architecture is deployed in a most radical manner: its pregiven spatial conventions are dissolved in favor of a variant deployment of gravity, one that constitutes space through the body's self-recalibration.\n\nYet another example, the Critical Resemblances House (1985–1986), makes even clearer why imaging landing sites (and longitudinal perception) are instrumental to the forging of the architectural body (see Figure 4.5). Once again, the operative mechanism is a superposition of alternate spatial projections which functions to destabilize the body's perceptual grasp of space and trigger its self-recalibration through \"alternate landing site configurations”\" made possible “by means of imaging landing sites\" (Reversible Destiny, 154). The first of Arakawa and Gins’ reversible destiny houses, Critical Resemblances House is composed of three levels of “reworked labyrinth” (defined as \"groups of labyrinthderived patterns of wall segments\"). These levels include a rectilinear group placed on top of two curvilinear ones: one on the ground level and another in the basement.\n\nBODIES IN CODE\n\n188","previous_page":187,"next_page":189}