{"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":233,"pdf_page":246,"physical_index":246,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"b57570c16b78226510b81f0ed1e067b8a8c28b9f4c21c09b8dd1ef63ab860ff2"},"chapter":"bodies in code","content":"Before exploring this privilege further, let us pause to take stock of the impact of this plot-instigating function of the house—specifically the way in which it correlates the structure and function of the narrative with the orthographic task thematized within the novel—on the other generic elements of the novel. Effectively, by placing Zampanò's narrative into a competition with recording media, House of Leaves subordinates traditional characterization to allegorical functions that serve the ends of media agon. (In general, my argument here builds upon observations made by Hayles in her consideration of characterization in House of Leaves.)\n\nConsider, for example, the portrayal of Navidson. Navidson is, literally, a cipher for orthographic desire: all of the aspects that, traditionally speaking, contribute to well-rounded characterization—psychology, past experience, personal idiosyncrasies, and so on—are in his case mere subfunctions, indeed true epiphenomena, of this overriding function. This is why Navidson's character furnishes the emblem for the paradoxical correlation of orthographic failure and orthographic desire we have just observed:\n\nPerhaps one reason Navidson became so enamored with photography was the way it gave permanence to moments that were often so fleeting. Nevertheless, not even ten thousand photographs can secure a world, and so while Navidson may have worked harder, taken greater risks and become increasingly more successful, he was ultimately misled in feeling that his labor could make up for the love he was deprived of as a child and the ultimate sense of security such love bestows.... More than just snapping a few pictures and recording daily events with a few Hi 8s, Navidson wanted to use images to create an outpost set against the transience of the world. No wonder he found it so impossible to give up his professional occupation. In his mind abandoning photography meant submitting to loss. (22-23)\n\nTHE DIGITAL TOPOGRAPHY OF HOUSE OF LEAVES\n\n233","previous_page":232,"next_page":234}