{"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":195,"pdf_page":208,"physical_index":208,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"b696659290c7c988a8117309597274fd1f76b919e24804685f50be1f24df7a95"},"chapter":"bodies in code","content":"By confronting us with a space that does not signify according to architecture's traditional interiority, diagrammatic “figuration\" indexes something else—namely, the body—which it brings into the fold of architecture's spatializing activity. Viewed schematically, the diagrammatic process thus divides into two stages: first, it generates forms which disturb architecture's interiority; second, it triggers an affective reaction in the body that, in a certain sense, fills in the void of interiority left in its wake. If the former stage triggers a crisis of figuration, the latter stage invests the body with the infralinguistic, infratactile capacity to convert the force of this crisis into the somatic experience of affect. It literally produces a body-in-code.\n\nWe might say then that Eisenman's interest in the computer is more operational than ontological, that it forms part of his ongoing effort to disrupt the singular “motivatedness\" of the architectural sign. \"Digital information is a new kind of sign system which is no longer mechanical; it produces the possibilities of separation\"—separation, that is, of the sign and its being.1º Far from being the first “machinic architect,' as Alejandro Zaera-Polo has dubbed him,11 Eisenman might better be considered the first affective architect: Not only does he subordinate the function of the computer to the genesis of affective space, but he also correlates affection with the body in a manner that is anathema to the Deleuzean context so central for the younger generation of architects and theorists.\n\nIndeed, Eisenman's subordination of the computer exposes the fundamental limitation of the machinic perspective of the neo-Deleuzeans: their utter failure to account for the specificity of exteriority, to explain how it bears concretely on the embodied experience of architecture. These latter are simply unable to take the crucial \"third step\":\n\nNeither the process of the machinic nor any computer program can a priori produce such a trope [a trope in architectural space]. This is what young architects, weaned on computers, fail to realize. Computers may produce blobs and other self-generated formless aggregations, but these are in and of themselves not any more architectural than they are graphic or illustrational.... Thus, a third step in the process takes a turn away from an aspect of the machinic, its possibility of extraction, towards its more arbitrary and aleatory nature, by taking the blurred two-dimensional diagram of superpositions and projecting it into the third dimension.12\n\nWEARABLE SPACE\n\n195","previous_page":194,"next_page":196}