{"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":216,"pdf_page":229,"physical_index":229,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"997c9ed2701caec62ca4070391887849703274c9588da17a12e5b73fb632c833"},"chapter":"bodies in code","content":"As if to embed this question materially in the experience of the unrealized house project, Diller + Scofidio double the picture window with a small television monitor, placed directly in front of the window, that screens an electronically mediated landscape displaying a horizon that “is always out of register with that of the real' landscape visible through and mediated by the window.\"26 The camera can pan and zoom by remote control, thus introducing perspectives at odds with the perspective of the embodied viewer-inhabitant; moreover, it can play prerecorded images if (for example) the view becomes obscured on account of foul weather or darkness. The end result of this juxtaposition of viewpoints is a technologization of nature, or rather, an exposure of the inherence of technics within nature: “as the image is manipulated and changed,\" the Project Description tells us, “nature becomes a slow form of entertainment\" (103).\n\nCan we say then that architectural framing functions to illuminate the ineliminability of framing as a process that is at once technical and embodied? Does this explain architecture's current privilege as the art of framing par excellence? Diller + Scofidio's reworking of Slow House as a gallery installation transforms the project's assault on unmediated vision into a thorough performative investigation of the embodied basis for the impossibility of pure transparency. Rather than simply juxtaposing two modes of framing landscape, at issue here is the bodily activity that arises as the agent of the “connective synthesis\" solicited by such a juxtaposition.\n\nComprising twenty-four artifacts (drawings, models, and texts) displayed on liquid-crystal monitors mounted in freestanding frames in a gallery space, The Desiring Eye: Reviewing the Slow House (1992) foregrounds the oscillation between looking and reading as a kind of lure that prevents the embodied spectator from achieving pure vision. Thus, although it is true that the \"layered grouping [of these displays] in the gallery space frustrates the possibility of gazing unobstructed from one end of the gallery to the other,\" as Dimendberg claims (75), far more important for the installation's performative impact is the mobile viewer's seduction by the image stations. Given the wealth of information framed by the individual displays (details about waterfront real estate, architectural details of the house, etc.), what the viewer experiences is the rich contextedness of the supposedly pure picture window view (see Figure 4.13).\n\nBODIES IN CODE\n\n216","previous_page":215,"next_page":217}