{"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":194,"pdf_page":207,"physical_index":207,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"4c36dae2f841844f1c66b0b75c3ae4005ccea1429f45f5b179e435156093e251"},"chapter":"bodies in code","content":"What is ultimately at stake in this theoretical différend with the younger generation is the potential for affęct to play a crucial constructive role in the formal genesis of space and, with it, the potential transformation of architecture into a process of embodied spatializing. For Eisenman, affect is the vehicle for the transfiguration of embodiment, and, as the conclusion of Diagram Diaries makes clear, its emergence as the crucial element of a new conception of architecture's interiority corresponds to a digitally facilitated metamorphosis of the diagram:\n\nThe diagram has come full circle from the strategies of reading to the tactics of visceral experience. At the same time, the diagram seems to disappear from the built work. In projects such as the Virtual House, the Staten Island Institute, and the IIT student center, it becomes more or less a virtual entity, rather than being made explicit in the projects. This is because the diagram becomes more of an engine in the projects rather than something which transforms itself into a physical reality. The external diagram provided a series of formal relationships and organizations that when given form, structure, and function in an architectural context, did not permit these forms to be understood as coming from a known interiority—that is, a sedimented relationship between form and function. Lastly, and perhaps of equal importance, these diagrams shifted the focus of the reading strategy from its origin in formal relationships, and then linguistic and textual relationships, to the possibility of reading affective relationships in the somatic experience itself. (208–209)\n\nIn its digital instantiation, the diagram functions precisely to interrupt the conflation of sign and being (or sign and embodiment) that defined architectural interiority for Eisenman. Because it allows form to emerge from an architectural context without its being dictated by architecture's preinscribed interiority, the digital diagram provides nothing less than a vehicle for the transformation of that interiority. Effectively, the forms it generates are spared the condition of having to embody the things of which they are signs and thus freed to be embodied otherwise—that is, for Eisenman at least, to be embodied through the bodily affect that they catalyze.\n\nThis shift in the tenor of interiority is, I suggest, just what Eisenman means when he contrasts the indexicality of affect with that of architecture's traditional structural elements: the diagram, he contends,\n\nattempts to unmotivate place, to find within place space as a void, as a negativity or nonpresence to be filled up with a new figuration of the sign. This new figuration is no longer within a semiotic system but is rather an index of affect, and, as affect, the void becomes a sign of not-presence, and thus the beginning of the transgression of the metaphysics of presence ... (215)\n\nBODIES IN CODE\n\n194","previous_page":193,"next_page":195}