{"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":2,"pdf_page":15,"physical_index":15,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"3dfa971eec1562235e9b3ff287ff67ec549726096941e66c3c7754f1cd748738"},"chapter":"bodies in code","content":"Until recently no one had come up with a better solution to this problem than goofy eyewear. When Rover sent back images from Mars, NASA scientists studied them wearing much the same glasses that audiences in 50s movie palaces donned to watch \"It Came from Outer Space.\" Within the realms of industry, that's been changing, as what's known as stereoscopic imaging has become a big business involving everyone from drug researchers doing molecular mapping to car designers building next year's SUV.... the ever-evolving high-tech revolution is finally moving 3-D entertainment to the next stage.\n\nStereoscopic imaging, the article goes on to explain, generates “natural three dimension\" using a principle called “multiplexing.\" Multiplexing does for three-dimensional perception what cinema and video did for two-dimensional perception: by delivering 300 images per second (30 images a second from ten different angles), it adds a stereoscopic or depth dimension to the illusion of motion generated by its technological precursors. With the ever increasing speed of home entertainment devices, delivery of three-dimensional content has now become practicable, even if its realization seems to loom fairly far out on the horizon.\n\nWhat is particularly interesting about this story—at least for my purposes here-is its congruity with the more specific technical paradigm emerging from recent virtual reality research and art experimentation: the paradigm (to borrow a term from artists Monika Fleischmann and Wolfgang Strauss) of “mixed reality.\" Having tired of the clichés of disembodied transcendence as well as the glacial pace of progress in headmounted-display and other interface technology, today's artists and engineers envision a fluid interpenetration of realms. Central in this reimagining of VR as a mixed reality stage is a certain specification of the virtual. No longer a wholly distinct, if largely amorphous realm with rules all its own, the virtual now denotes a “space full of information' that can be “activated, revealed, reorganized and recombined, added to and transformed as the user navigates ... real space.\"2\n\nWhat comes to the fore in this reimagining is the central role played by the body in the interface to the virtual. With the convergence of physical and virtual spaces informing today's corporate and entertainment environments, researchers and artists have come to recognize that motor activity—not representationalist verisimilitude—holds the key to fluid and functional crossings between virtual and physical realms. In what amounts to a position statement for the mixed reality movement as a whole, Fleischmann and Strauss speak of \"turning the theory on its head that man is losing his body to technology”; as they see it, “the interactive media are supporting the multisensory mechanisms of the body and are thus extending man's space for play and action\" (cited in Grau, 219).\n\nBODIES IN CODE\n\n2","previous_page":1,"next_page":null}