{"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":209,"pdf_page":222,"physical_index":222,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"c805fa6c5ec2470a6be025abd02b213afc077a8cb76ba50f7c90d85618aebe89"},"chapter":"bodies in code","content":"By moving from the vectorial deformation of the site (liberation of the force of the interstitial) to its eventual longitudinal bodily inhabitation (processing of force as affect), this project exemplifies the refunctionalization of framing that is at stake in Eisenman's digitally inspired work and that confers a distinct architectural inflection on the concept of wearable space. Bluntly put, Eisenman transforms framing from an \"objective\" condition of the site into a process encompassing site, space, and body or, as I put it in New Philosophy for New Media, from a static, black-boxed technical frame to a dynamic bodily-generated one. Thus, he manages to displace the formal binary opposition—form vs. unform—that (with no small encouragement on his part) has been used to characterize his work.xvii\n\nFor the most recent Eisenman, the important task is specifying the conditions for reframing—how to deploy the potentiality of the site as the trigger for an embodied framing that brings together site, space, and body in the production of wearable space. Viewed in this context, we can see that Eisenman's interest in affect functions to displace the domain in which framing can be said to operate—to displace it from architectural form to the affective excess that, in the language of \"Visions Unfolding, continuously unfolds alongside it. In this new vocation, framing foregrounds the necessity for what Eisenman has called the \"third step\": the confrontation of the smooth spaces of today's lifeworld (and computer modulation) with architecture's (constitutive) interiority. Thus, he can insist, once again with an eye toward the younger generation: \"I am not interested in forming amorphic projects, rather I am interested in spacing the formless\" (Zaera-Polo, \"Interview,\" 20).\n\nBy \"spacing the formless,\" bodily experience transforms the virtual excess of architectural space into a form not pregiven by, yet nonetheless inseparable from, architecture's constitutive interiority.xviii Such creative embodied framing, mobilized in the architectural construction of space, produces the condition of \"wearable space,\" which can thus be considered a particular type of“digital any-space-whatever\"xix-that is (following and extending the Deleuzean concept of the ASW), a production of space in which the body in effect forges an analogy where none preexists.xx In the context of architecture specifically, the production of a digital ASW through the body's infratactile capacity to convert force into affect explains how spacing can be understood as a dynamic operation of framing that manages to avoid grounding: it is an ongoing, embodied framing of space that is not given in this or that form, but only as an ongoing process open to the \"longitudinal.\"xxi\n\nWEARABLE SPACE\n\n209","previous_page":208,"next_page":210}