{"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":213,"pdf_page":226,"physical_index":226,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e79d59a30d506a6e33bcf8b3e21cc3c8d658c487222d7cb8dba9a391c83b48ff"},"chapter":"bodies in code","content":"In the later Jump Cuts and X, Y, Diller + Scofidio dispense with the domestic, institutional props, concentrating their attack on vision within the image. Both works record the insides of archetypal buildings—a movie theater and a pachinko parlor, respectively—from disorienting perspectives that survey movement from above. Installed at the United Artists Cineplex Theater in San Jose, California, Jump Cuts (1995) presented images of theater patrons riding the escalator (intercut periodically by movie trailers) on twelve liquid-crystal screens affixed to the outside of the theater building (see Figure 4.11). Here, the decoupling of the image from the viewer's embodied orientation—the decoupling already at issue in Para-site—is conjoined with (indeed, becomes the vehicle for) a critical intervention into architectural interiority, as Edward Dimendberg suggests:\n\nUncoupling the video image from the actual spatial orientation of the architecture supporting it, these installations display alternate points of view in a manner that treats space as malleable, separable from the observer, and reprogrammable in new combinations. Mounted on the façade of the cinema complex, Jump Cuts works by \"flipping the building inside out, electronically\" [citing a lecture by Diller]. It suggests the potential of digital technology to shift the boundaries between architectural interiority and exteriority.²3\n\nWEARABLE SPACE\n\n213","previous_page":212,"next_page":214}