{"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":221,"pdf_page":234,"physical_index":234,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d4599cd3a307dccc5ec546514e97651b58367a28eb75f59617fdb010587808a2"},"chapter":"bodies in code","content":"The Digital Topography of House of Leaves\n\nZampanò only wrote “heater.\" The word “water” back there [in The Navidson Record]—I added that. Now there's an admission, eh?\n\nHey, not fair, you cry. Hey, hey, fuck you, I say.1\n\nFor Mark Danielewski, perhaps the central burden of contemporary authorship is to reaffirm the novel as a relevant—indeed newly relevant— cultural form:\n\nBooks don't have to be so limited. They can intensify informational content and experience. Multiple stories can lie side by side on the page.... Words can also be colored and those colors can have meaning. How quickly pages are turned or not turned can be addressed. Hell, pages can be tilted, turned upside down, even read backwards.... But here's the joke. Books have had this capacity all along.... Books are remarkable constructions with enormous possibilities.... But somehow the analogue powers of these wonderful bundles of paper have been forgotten. Somewhere along the way, all its possibilities were denied. I'd like to see that perception change. I'd like to see the book reintroduced for all it really is.²\n\nHouse of Leaves, the novel Danielewski wrote to reintroduce the book for all it really is, is a tour de force in typographic and media experimentation with the printed word. From its cover page and initial inset to its enigmatic final page, the novel defies standard expectations in a rich variety of ways. Making pseudoserious reference to the blue highlighting of hotlinks on webpages, the blue ink of the word \"house\" in the work's title transforms this keyword into something like a portal to information located elsewhere within and beyond the novel's frame. The color collage comprising the first inset page juxtaposes what looks to be a randomly selected group of common-use objects with snippets of manuscript copy as if to suggest some underlying equivalence between them. The final page—curiously situated after the index and credits page—bears the inscription “Yggdrasil\" in the form of a “T” followed by four lines of text and a fifth line containing a single, large font, bold \"O.\" A reference to the giant tree supporting the universe in Norse Mythology, the page startles in its apparent randomness, reinforcing the cosmological closure effected by the novel it culminates, yet shedding no new light on just what should be made of it.\n\n221","previous_page":220,"next_page":222}