{"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":228,"pdf_page":241,"physical_index":241,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"5355f38296b4379a4c6f79101e5be0f38cc74960c775b334f14d06e702e5406e"},"chapter":"bodies in code","content":"Stiegler's neo-Husserlian, phenomenological account, the memory of (our) experience.\n\nBecause of its dual principle—at once reality and the past—the photograph forms something of a paradigm for orthography: because it makes present a past that, however, cannot be a part of my past, that cannot be lived by me, photography insulates the past, the “that has been, even as it allows for its representification. Photography thus preserves the past in a way that avoids the phonocentric privilege of the present. Put another way, because its orthographic force stems from a technical (or, as Barthes says, a chemical) source, photography assures the autonomy of the past in the face of its inherent potential for representification. In this way, it forms a model that can help us conceptualize orthographic writing in its proper sense as the inscription of the past as past and not simply the copy of the voice, the writing down of the phonē (the voice):\n\nThe meaning of literal orthothesis [orthothèse littérale] is not fidelity to the phonê as self-presence, but the literal registration of the past as past, as passage of the letter, or of the word [parole] by the letter-a certain mode of repeatability of the having-taken-place (if not of a having-been) of the play of writing. (Stiegler 1996, 48)\n\nWith his realization that it makes no difference whether the film is a fiction, what Johnny Truant effectively pronounces is precisely the waning of the orthothetic function in general. At stake here is more than simply the contamination of photographic orthothesis by the fictionalizing power of discourse; it is not just that, in the age of Photoshop, the alleged certainty of the photographic is subject to generalized suspicion. In question is the possibility for accurate recording per se, the capacity of technical inscription to capture what Danielewski celebrates, like Pynchon before him, as the singularity of experience.\n\nIn an age marked by the massive proliferation of (primarily audiovisual) apparatuses for capturing events of all sorts, from the most trivial to the most monumental, House of Leaves asserts the nongeneralizability (or nonrepeatibility) of experience—the resistance of the singular to orthography, to technical inscription of any sort. This is precisely why House of Leaves is particularly well suited to theorize the medial shift in the function of the novel. As a corporeal palimpsest of the effects of mediation—including the mediation that it performs—House of Leaves practices what it preaches, always yielding one more singular experience, one more body-in-code, each time it is read.vii\n\nBODIES IN CODE\n\n228","previous_page":227,"next_page":229}