{"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":191,"pdf_page":204,"physical_index":204,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"0194d3266ddf6fe5c6b01f62b82534c4893777dd25df8c348f16a221857aad6b"},"chapter":"bodies in code","content":"This spatializing power of the body exemplifies the more general capacity of the infralanguage to decode forces into affects, to convert information originating in the material environment into meaningful experiences—experiences capable of affecting the body.\" Because it posits the conjunction of “body proper\" and “architectural surround” as the effect of a more fundamental indifferentiation between bodily exfoliation and spatial information, Gil's conception of the spatializing power of the body explains the mechanism for Arakawa and Gins' architectural body. More precisely, it restores a complex balance to the conception of the architectural body, making this latter not so much the result of a subordination of architecture to the body as a figure for the co-origination and coevolution of body and space.\n\n3. THE “INTERIORITY” OF ARCHITECTURE\n\nAmong contemporary figures in architecture, Peter Eisenman, more than anyone else, has insisted on the irreducibility of embodiment in architecture. From his early theoretical engagement with what he termed the \"motivatedness of the architectural sign\" to his recent concern with \"reading affective relationships in the somatic experience\" of architecture, Eisenman has struggled with the embodied constraints endemic to architecture. Within the trajectory of this struggle, the digital occupies a privileged place. The formal liberation facilitated by digital design techniques fundamentally reconfigures the correlation of architecture and embodiment, transforming what originated as an indelible material constraint cosubstantial with the “architectural sign\" into a dynamic aspect of the architectural framing of space. By means of a digital conversion, Eisenman's concern with the intrinsic embodiment of architecture has morphed into an embrace of the (human) body as, to borrow Gil's terminology, a converter of (spatial) forces into embodied affects.\n\nTo understand the significance of this transformation—and to appreciate why it renders Eisenman a singular figure among contemporary digitally-inspired architects--we need to revisit Eisenman's career-instigating insight into the specificity of the architectural sign. It is fairly well known, if little understood, that Eisenman distinguishes the architectural sign from all other regimes of signs on account of its motivatedness\"—the fact that it not only serves as a sign, but always also embodies its architectural meaning or function. The architectural sign can be considered to be motivated because the “sign and signified are one and the same thing\":\n\nWEARABLE SPACE\n\n191","previous_page":190,"next_page":192}