{"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":230,"pdf_page":243,"physical_index":243,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"ad15705b581b4b26c040f053b7a5c3d1eb17455e1217f6343eabcb5141f2569c"},"chapter":"bodies in code","content":"This figural labor becomes quite explicit at the moment when Zampanò compares the house to an actual, physical icefall:\n\nSimilar to the Khumbu Icefall at the base of Mount Everest where blue seracs and chasms change unexpectedly throughout the day and night, Navidson is the first one to discover how that place also seems to constantly change. Unlike the icefall, however, not even a single hairline fracture appears in those walls. Absolutely nothing visible to the eye provides a reason or even evidence of those terrifying shifts which can in a matter of moments reconstitute a simple path into an extremely complicated one. (68–69)\n\nHere, through its difference from an actual, physical entity, we can see the house for what it is: a flexible, topological form capable of infinite and seamless modification; a postvisual figure immune to the laws governing the phenomenology of photography, cinema, and video; a logic of transformation whose output is disproportionate to its input. In this perspective, the house is nothing if not a figure for the digital: its paradoxical presence as the impossible absence at the core of the novel forms a provocation that, as we shall see, is analogous in its effects to the provocation of the digital.\n\nThat this analogy-by-effect surfaces most insistently at the point where the text's thematic concern with the digital coincides with its most extreme typographical deformation can hardly be a coincidence. Indeed, this point might be considered the culmination of the text's thematic engagement with the digital, the moment when this latter shades into a concern with the digital as a subterranean deformational force which threatens the integrity of the (traditional) text.\\* Chapter IX recounts “Exploration #4,\" in which the adventurer Holloway and his team encounter further evidence of the house's warped expansions as well as the bestial growl that, precisely by concretizing the unknown danger, will wind up driving Holloway out of his mind and ultimately to his demise.\n\nInterspersed through the narration of this exploration and serving to interrupt its progression are a series of typological innovations—upside down and horizontal footnotes that literally carve into the space of the text. Certainly the highlight of this experimentation is, as Hayles has noted, footnote 144, a blue-lined frame, set near the top of the page and containing a (necessarily partial) list of everything that is not in the house. Because this list could be extended indefinitely, this footnote inscribes, in a particularly destabling manner, the way the outside world punctures the closure of the fictional world. The formal deformations to which it submits the novel put the latter's longstanding stability as a storage technology into question. This list of what is not in the house runs on through fourteen right-hand pages of the manuscript; in its appearance on the left-hand pages, it presents the text in reverse, as if the normally opaque text were suddenly rendered transparent or at least punctured by a see-through or reflective portal. This play with page layout and function culminates in a blank blue-outlined box followed, on the next page, by a solid-blue box, and on the next by a larger unframed box of blank white space imposed directly on and obscuring a single passage devoted to the capacity of digital technology to manipulate images.\n\nBODIES IN CODE\n\n230","previous_page":229,"next_page":231}